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[
"Joe Nieuwendyk",
"New Jersey, Toronto and Florida",
"What happned in New Jersey, Toronto, and Florida?",
"New Jersey, who had won the Stanley Cup in 2000 and reached the finals the following year, acquired Nieuwendyk for their playoff run in 2002.",
"Did he ever participate in the playoff run?",
"New Jersey, who had won the Stanley Cup in 2000 and reached the finals the following year, acquired Nieuwendyk for their playoff run in 2002."
]
| C_96cf32367ed04f83b57408823d4d1cfd_0 | Are there any other interesting aspects about this article? | 3 | Besides Joe Nieuwendyk being acquired by New Jersey for their playoff run, Are there any other interesting aspects about this article? | Joe Nieuwendyk | New Jersey, who had won the Stanley Cup in 2000 and reached the finals the following year, acquired Nieuwendyk for their playoff run in 2002. He scored 11 points in 14 regular season games for the Devils following the trade, but New Jersey was eliminated in the first round of the 2002 Stanley Cup playoffs by the Carolina Hurricanes. Nieuwendyk reached two offensive milestones in 2002-03. He scored his 500th career goal on January 17, 2003, against Carolina's Kevin Weekes. On February 23, he scored his 1,000th point in a win over the Pittsburgh Penguins. He and the Devils reached the 2003 Stanley Cup Finals, but Nieuwendyk suffered a hip injury in the sixth game of the Eastern Conference Final that prevented him from appearing in the championship series. The Devils defeated the Mighty Ducks of Anaheim in the final, capturing the franchise's third Stanley Cup. For Nieuwendyk, it was his third title with his third different team. The Toronto Maple Leafs signed Nieuwendyk to a one-year contract for the 2003-04 season. He scored 22 goals for Toronto in a season marred by abdominal and back injuries that limited him to 64 games played, and a groin injury that forced him out of the lineup for much of Toronto's second-round series loss to the Philadelphia Flyers. He signed another one-year deal for 2004-05, but the season was cancelled due to a labour dispute that was feared would mark the end of the 38-year-old Nieuwendyk's career. When NHL play resumed in 2005-06, the Florida Panthers sought to bolster their lineup with veteran players. They signed both Nieuwendyk and Roberts, who had played together in Calgary and Toronto and wanted to finish their careers together, to two-year, $4.5 million contracts. Nieuwendyk appeared in 65 games during the season, scoring 26 goals and 56 points. He appeared in 15 games in 2006-07 before chronic back pain forced him onto injured reserve. After missing 14 games, Nieuwendyk announced his retirement on December 7, 2006. CANNOTANSWER | Nieuwendyk reached two offensive milestones in 2002-03. He scored his 500th career goal on January 17, 2003, against Carolina's Kevin Weekes. | Joseph Nieuwendyk ( ; born September 10, 1966) is a Canadian former National Hockey League (NHL) player. He was a second round selection of the Calgary Flames, 27th overall, at the 1985 NHL Entry Draft and played 20 seasons for the Flames, Dallas Stars, New Jersey Devils, Toronto Maple Leafs, and Florida Panthers. He is one of only 11 players in NHL history to win the Stanley Cup with three or more different teams, winning titles with Calgary in 1989, Dallas in 1999 and New Jersey in 2003. A two-time Olympian, Nieuwendyk won a gold medal with Team Canada at the 2002 winter games. He was inducted into the Hockey Hall of Fame in 2011 and his uniform number 25 was honoured by the Flames in 2014. Joe Nieuwendyk was inducted into the Ontario Sports Hall of Fame in 2014. In 2017 Nieuwendyk was named one of the '100 Greatest NHL Players' in history.
An accomplished box lacrosse player, Nieuwendyk led the Whitby Warriors to the 1984 Minto Cup national junior championship before focusing exclusively on hockey. He played university hockey with the Cornell Big Red where he was a two-time All-American. He won the Calder Memorial Trophy as NHL rookie of the year in 1988 after becoming only the second first-year player to score 50 goals. He was a four-time All-Star, won the King Clancy Memorial Trophy in 1995 for his leadership and humanitarian work, and was named the Conn Smythe Trophy winner in 1999 as most valuable player of the postseason. Nieuwendyk played 1,257 games in his career, scoring 564 goals and 1,126 points.
Chronic back pain forced Nieuwendyk's retirement as a player in 2006. He then began a new career in management, acting first as a consultant to the general manager with the Panthers before moving onto the Maple Leafs where he was an assistant to the general manager. Nieuwendyk was the general manager of the Dallas Stars between 2009 and 2013. He most recently worked as a pro scout and advisor for the Carolina Hurricanes, until resigning his contract April 30, 2018.
Early life
Nieuwendyk was born September 10, 1966 in Oshawa, Ontario, and grew up in Whitby. He is the youngest of four children to Gordon and Joanne Nieuwendyk, who immigrated to Canada from the Netherlands in 1958. Gordon owned a car repair shop in Whitby. Joe grew up in a sporting family. His brother Gil was a box lacrosse player, while his uncle Ed Kea and cousin Jeff Beukeboom also played in the National Hockey League (NHL). His best friend growing up was future NHL teammate Gary Roberts.
He played both hockey and lacrosse growing up and the latter considered his better sport. At one point, Nieuwendyk was considered the top junior lacrosse player in Canada. He earned a spot with the Whitby Warriors junior A team at the age of 15, and was named the most valuable player of the Minto Cup tournament in 1984 when he led the Warriors to the national championship. The Ontario Lacrosse Association later named its junior A rookie of the year award after Nieuwendyk.
Playing career
College
Nieuwendyk went undrafted by any Ontario Hockey League team, and so played a season of junior B for the Pickering Panthers in 1983–84. Eligible for the 1984 NHL Entry Draft but unselected, he chose to attend Cornell University where he played hockey and lacrosse for the Big Red. He was named the Eastern College Athletic Conference (ECAC) hockey rookie of the year in 1984–85 after scoring 39 points in 23 games. At the 1985 NHL Entry Draft, the Calgary Flames selected him in the second round, 27th overall, with a pick obtained that day in a trade with the Minnesota North Stars for Kent Nilsson. The disappointment in Calgary over the trade of Nilsson resulted in some criticism of Nieuwendyk's selection, famously leading to a local newspaper to question the moves with the headline "Joe Who?"
Returning to Cornell for the 1985–86 season, Nieuwendyk chose to give up lacrosse in order to focus on hockey. He was named an ECAC first team All-Star in 1985–86 and an NCAA All-American after scoring 42 points in 21 games. In his final season at Cornell, he was named the team's most valuable player and led the ECAC in scoring with 52 points. He was again named an ECAC All-Star and NCAA All-American, and a finalist for the 1987 Hobey Baker Award.
Nieuwendyk chose to forgo his senior year in favour of turning professional. In 81 games with Cornell, Nieuwendyk scored 73 goals and 151 points, both among the highest totals in the school's history. His number 25 jersey was retired by Cornell in 2010, shared with Ken Dryden's number 1 as the first such numbers retired by the hockey team, and believed the first in any sport in the school's varsity sports history. In 2011, he was named one of the 50 greatest players in ECAC history.
Calgary Flames
Once his junior season at Cornell ended, Nieuwendyk joined the national team for five games before turning professional with the Flames. He made his NHL debut on March 10, 1987, against the Washington Capitals and scored his first NHL goal against goaltender Pete Peeters. He appeared in nine regular season games in the 1986–87 NHL season, scoring five goals and one assist, and appeared in six playoff games. Playing his first full season in 1987–88, Nieuwendyk captured the attention of the sports media by scoring 32 goals in his first 42 games to put him on a pace to surpass Mike Bossy's rookie record of 53 goals. Nieuwendyk finished two goals short of Bossy's record, but led the team with 51 goals and was the second first-year player to score at least 50 goals in one season. He played in his first NHL All-Star Game, was named to the All-Rookie Team and was voted the winner of the Calder Memorial Trophy as the NHL's top rookie.
Nieuwendyk again scored 51 goals in 1988–89 and marked the 100th of his career in his 144th career game. At the time, he was the third fastest player to reach the milestone, behind Bossy (129 games) and Maurice Richard (134 games), and was the third player in league history to score 50 goals in each of his first two seasons (Bossy and Wayne Gretzky). He led the league with 11 game-winning goals and set a Flames franchise record on January 11, 1989, when he scored five goals in one game against the Winnipeg Jets. Nieuwendyk appeared in his second of three-consecutive All-Star Games. In the 1989 Stanley Cup playoffs, he scored 10 goals and four assists to help the Flames win their first- and only -Stanley Cup championship in franchise history. In the clinching game against the Montreal Canadiens, Nieuwendyk set up Lanny McDonald's final NHL goal with a quick pass after receiving the puck from Håkan Loob.
A 45-goal season in 1989–90 was enough for Nieuwendyk to lead the team in goal scoring for the third consecutive season. He missed he first 11 games of the 1991–92 NHL season after suffering a knee injury during a summer evaluation camp for the 1991 Canada Cup. Nieuwendyk began the season as the 12th captain in the Flames franchise history. He was limited to 22 goals and 56 points on the season, but scored his 200th career goal on December 3, 1991, against the Detroit Red Wings. His 230th career goal, scored against the Tampa Bay Lightning on November 13, 1992, established a Flames franchise record for career goals (since broken).
Nieuwendyk entered the 1995–96 season unhappy with his contract status. Unable to come to terms with the Flames, he had gone to arbitration, and was awarded a contract worth C$1.85 million, but insisted on renegotiating the deal into a long-term contract extension. He refused an offer of a three-year, $6 million contract from the Flames, and as the dispute dragged on, chose not to join the team when the season began. He remained a holdout until December 19, 1995, when the Flames traded him to the Dallas Stars in exchange for Jarome Iginla and Corey Millen.
Dallas Stars
The Stars immediately signed Nieuwendyk to a new deal worth US$11.3 million over five years. Bob Gainey, the team's general manager, hoped that the acquisition of Nieuwendyk would help the franchise, which had relocated from Minnesota three years previous, establish its place in Dallas. Nieuwendyk scored 14 goals and 32 points in 52 games with the Stars to finish the 1995–96 season.
Nieuwendyk improved to 30 goals in 1996–97 despite missing the first month of the season with fractured rib cartilage. A 39-goal season followed, but he was again sidelined by injury after appearing in only one game of the 1998 Stanley Cup playoffs. In the opening game of the Stars' first-round series against the San Jose Sharks, he suffered a torn ACL as a result of a check by Bryan Marchment. The injury required two knee surgeries to repair and six months to heal, which caused him to miss the beginning of the 1998–99 NHL season.
He finished the regular season with 28 goals and 55 points in 67 games, and added 11 goals and 10 assists in the 1999 Stanley Cup playoffs to help the Stars win the first Stanley Cup in their franchise history. Six of his playoff goals were game winners, and he was voted the winner of the Conn Smythe Trophy as most valuable player of the playoffs. Injuries again limited Nieuwendyk in 1999–2000. He missed ten games due to a bruised chest then suffered a separated shoulder a week after his return that kept him out of the lineup for several weeks. He played only 47 regular season games, but added 23 more in the playoffs as the Stars reached the 2000 Stanley Cup Finals. They lost the series in six games to the New Jersey Devils, however.
Nieuwendyk played in his 1,000th career game on January 20, 2002, against the Chicago Blackhawks. Two months later, on March 19, 2002, he was traded to the Devils, along with Jamie Langenbrunner, in exchange for Jason Arnott, Randy McKay and a first round selection in the 2002 NHL Entry Draft.
New Jersey, Toronto and Florida
New Jersey, who had won the Stanley Cup in 2000 and reached the finals the following year, acquired Nieuwendyk for their playoff run in 2002. He scored 11 points in 14 regular season games for the Devils following the trade, but New Jersey was eliminated in the first round of the 2002 Stanley Cup playoffs by the Carolina Hurricanes. Nieuwendyk reached two offensive milestones in 2002–03. He scored his 500th career goal on January 17, 2003, against Carolina's Kevin Weekes. On February 23, he scored his 1,000th point in a win over the Pittsburgh Penguins. He and the Devils reached the 2003 Stanley Cup Finals, but Nieuwendyk suffered a hip injury in the sixth game of the Eastern Conference Final that prevented him from appearing in the championship series. The Devils defeated the Mighty Ducks of Anaheim in the final, capturing the franchise's third Stanley Cup. For Nieuwendyk, it was his third title with his third different team.
The Toronto Maple Leafs signed Nieuwendyk to a one-year contract for the 2003–04 season. He scored 22 goals for Toronto in a season marred by abdominal and back injuries that limited him to 64 games played. After scoring two goals in the decisive Game 7 opening round series victory against the Ottawa Senators, a groin injury that forced him out of the lineup for much of Toronto's second-round series loss to the Philadelphia Flyers. He signed another one-year deal for 2004–05, but the season was cancelled due to a labour dispute that was feared would mark the end of the 38-year-old Nieuwendyk's career.
When NHL play resumed in 2005–06, the Florida Panthers sought to bolster their lineup with veteran players. They signed both Nieuwendyk and Roberts, who had played together in Calgary and Toronto and wanted to finish their careers together, to two-year, $4.5 million contracts. Nieuwendyk appeared in 65 games during the season, scoring 26 goals and 56 points. He appeared in 15 games in 2006–07 before chronic back pain forced him onto injured reserve. After missing 14 games, Nieuwendyk announced his retirement on December 7, 2006.
International play
As a member of the Canadian national junior team at the 1986 World Junior Ice Hockey Championships, Nieuwendyk scored five goals in seven games to help Canada win a silver medal. His 12 points in the tournament tied him for third in scoring for Team Canada and fourth overall in the tournament. One year later, Nieuwendyk joined the senior national team for the Calgary Cup, a four-team exhibition tournament that served as a preview event for the 1988 Winter Olympics. He scored a goal in each of the first two games, losses to the United States and Czechoslovakia, for the Canadian team that won the bronze medal. He joined the senior team again for the 1990 Men's World Ice Hockey Championships, but appeared in only one game after suffering a knee injury. He was invited to Team Canada's summer camp for the 1991 Canada Cup tournament but suffered a knee injury that caused him to miss the entire tournament.
NHL players were first allowed to participate in the Olympic ice hockey tournament in 1998. Nieuwendyk was among the players named to join Canada's "dream team". He scored two goals and three assists in six games, but was one of several Canadian players stopped by Czech goaltender Dominik Hašek in a shootout loss in the semifinals. Canada then dropped a 3–2 decision to Finland to finish fourth. Nieuwendyk played alongside Brendan Shanahan and Theoren Fleury on Canada's checking line at the 2002 Olympic tournament. He scored one goal and helped Canada win its first Olympic hockey gold medal in 50 years.
Playing style
Cliff Fletcher, who drafted him into the NHL, described Nieuwendyk as being a "pre-eminent two-way guy who had 50-goal seasons", adding that "he had a great stick around the net, he had a great shot, he saw the ice well, he could skate, he had the size – he had everything you needed to have. History has indicated that wherever he went, the team was competitive. The more that was on the line in big games, the better Joe played." He was an offensive centre in Calgary and power play specialist, able to withstand the physical punishment required to stand in front of the net and battle defencemen for the puck. He led the NHL in power play goals in 1987–88 with 31 and finished in the top ten on four other occasions. Wayne Gretzky, who also played box lacrosse in his youth, argued that the skills Nieuwendyk learned dodging opposing players in that sport aided his development as a hockey player. Nieuwendyk was regarded as a top faceoff man, a skill that Team Canada relied on during the Olympics. He was a checking-line centre at the 2002 Olympics, relied on for his defensive and faceoff abilities.
Nieuwendyk was regarded as a leader throughout his career. He was the captain of the Flames for four seasons, and his teammates in Dallas praised him as a player who would help guide the younger players as they began their careers. His presence was considered an important factor in New Jersey's 2003 Stanley Cup championship. Devils' general manager Lou Lamoriello praised his impact both on and off the ice: "Certainly (the tangibles were) the quality player he was even at that time, how good he was defensively as well as always finding a way to get big goals. It was also about how good he was on faceoffs. And the intangibles, which are really more tangible than anything, are what he brought in the locker room from leadership and unselfishness. It was obvious that when he didn't play he was still so active in his support. He's genuine in every sense of the word. He was a true team player." Nieuwendyk was inducted into the Hockey Hall of Fame in 2011, and his uniform number 25 was honoured by the Calgary Flames on March 7, 2014, as he was named to the organization's "Forever a Flame" program.
Management career
Remaining in hockey following the end of his playing career, Nieuwendyk joined the Florida Panthers' front office as a consultant to general manager Jacques Martin in 2007. He left the Panthers after one year to join the Maple Leafs as special assistant to general manager Cliff Fletcher in 2008. He served as assistant general manager for the silver-medal winning Canadian national team at the 2009 World Championships, and on June 1, 2009, was named general manager of the Dallas Stars. His ability to make moves was at times limited by the financial difficulty of team owner Tom Hicks. Among Nieuwendyk's decisions in his first two seasons as general manager was to allow popular former captain Mike Modano to leave the organization after 22 years with the franchise in 2010. Nieuwendyk stated such moves were difficult, as he played with Modano and considered him a friend. Nieuwendyk was released as Stars' general manager at the conclusion of the 2012–13 NHL season as team owner Tom Gaglardi stated that the team wanted to "take this organization in a different direction". On September 3, 2014, the Carolina Hurricanes announced they had hired him as a pro scout and advisor. He resigned from his position with Carolina on April 30, 2018.
Personal life
Nieuwendyk and his wife Tina have three children: daughters Tyra and Kaycee and son Jackson. In 1995, while a member of the Flames, Nieuwendyk won the King Clancy Memorial Trophy given annually to the player "who best exemplifies leadership qualities on and off the ice and who has made a significant humanitarian contribution to his community". He was honoured by the league for his contributions to the Society for the Prevention of Cruelty to Animals (SPCA), and was a spokesman and honorary chairman of the Foothills Hospital Foundation. He remained active with the SPCA after his trade to Dallas, and following the September 11 attacks, organized a charity softball game that raised $115,000 for charitable groups in the aftermath of the attack. While a member of the Maple Leafs during the lockout, he participated in a charity hockey game organized by cancer survivor and former NHL player Keith Acton that raised $30,000 for cancer and leukemia charities in southern Ontario.
Career statistics
Regular season and playoffs
International
Awards and honours
References
External links
1966 births
Living people
Calder Trophy winners
Calgary Flames captains
Calgary Flames draft picks
Calgary Flames players
Canadian ice hockey centres
Canadian lacrosse players
Canadian people of Dutch descent
Carolina Hurricanes scouts
Conn Smythe Trophy winners
Cornell Big Red men's ice hockey players
Dallas Stars executives
Dallas Stars players
Florida Panthers executives
Florida Panthers players
Hockey Hall of Fame inductees
Sportspeople from Oshawa
Sportspeople from Whitby, Ontario
Ice hockey players at the 1998 Winter Olympics
Ice hockey players at the 2002 Winter Olympics
King Clancy Memorial Trophy winners
Medalists at the 2002 Winter Olympics
National Hockey League All-Stars
New Jersey Devils players
Olympic gold medalists for Canada
Olympic ice hockey players of Canada
Olympic medalists in ice hockey
Stanley Cup champions
Toronto Maple Leafs players
Ice hockey people from Ontario
AHCA Division I men's ice hockey All-Americans | 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"
]
|
[
"Joe Nieuwendyk",
"New Jersey, Toronto and Florida",
"What happned in New Jersey, Toronto, and Florida?",
"New Jersey, who had won the Stanley Cup in 2000 and reached the finals the following year, acquired Nieuwendyk for their playoff run in 2002.",
"Did he ever participate in the playoff run?",
"New Jersey, who had won the Stanley Cup in 2000 and reached the finals the following year, acquired Nieuwendyk for their playoff run in 2002.",
"Are there any other interesting aspects about this article?",
"Nieuwendyk reached two offensive milestones in 2002-03. He scored his 500th career goal on January 17, 2003, against Carolina's Kevin Weekes."
]
| C_96cf32367ed04f83b57408823d4d1cfd_0 | What ohter milestones did he reach? | 4 | What ohter milestones did Joe Nieuwendyk reach? | Joe Nieuwendyk | New Jersey, who had won the Stanley Cup in 2000 and reached the finals the following year, acquired Nieuwendyk for their playoff run in 2002. He scored 11 points in 14 regular season games for the Devils following the trade, but New Jersey was eliminated in the first round of the 2002 Stanley Cup playoffs by the Carolina Hurricanes. Nieuwendyk reached two offensive milestones in 2002-03. He scored his 500th career goal on January 17, 2003, against Carolina's Kevin Weekes. On February 23, he scored his 1,000th point in a win over the Pittsburgh Penguins. He and the Devils reached the 2003 Stanley Cup Finals, but Nieuwendyk suffered a hip injury in the sixth game of the Eastern Conference Final that prevented him from appearing in the championship series. The Devils defeated the Mighty Ducks of Anaheim in the final, capturing the franchise's third Stanley Cup. For Nieuwendyk, it was his third title with his third different team. The Toronto Maple Leafs signed Nieuwendyk to a one-year contract for the 2003-04 season. He scored 22 goals for Toronto in a season marred by abdominal and back injuries that limited him to 64 games played, and a groin injury that forced him out of the lineup for much of Toronto's second-round series loss to the Philadelphia Flyers. He signed another one-year deal for 2004-05, but the season was cancelled due to a labour dispute that was feared would mark the end of the 38-year-old Nieuwendyk's career. When NHL play resumed in 2005-06, the Florida Panthers sought to bolster their lineup with veteran players. They signed both Nieuwendyk and Roberts, who had played together in Calgary and Toronto and wanted to finish their careers together, to two-year, $4.5 million contracts. Nieuwendyk appeared in 65 games during the season, scoring 26 goals and 56 points. He appeared in 15 games in 2006-07 before chronic back pain forced him onto injured reserve. After missing 14 games, Nieuwendyk announced his retirement on December 7, 2006. CANNOTANSWER | He and the Devils reached the 2003 Stanley Cup Finals, but Nieuwendyk suffered a hip injury in the sixth game of the Eastern Conference | Joseph Nieuwendyk ( ; born September 10, 1966) is a Canadian former National Hockey League (NHL) player. He was a second round selection of the Calgary Flames, 27th overall, at the 1985 NHL Entry Draft and played 20 seasons for the Flames, Dallas Stars, New Jersey Devils, Toronto Maple Leafs, and Florida Panthers. He is one of only 11 players in NHL history to win the Stanley Cup with three or more different teams, winning titles with Calgary in 1989, Dallas in 1999 and New Jersey in 2003. A two-time Olympian, Nieuwendyk won a gold medal with Team Canada at the 2002 winter games. He was inducted into the Hockey Hall of Fame in 2011 and his uniform number 25 was honoured by the Flames in 2014. Joe Nieuwendyk was inducted into the Ontario Sports Hall of Fame in 2014. In 2017 Nieuwendyk was named one of the '100 Greatest NHL Players' in history.
An accomplished box lacrosse player, Nieuwendyk led the Whitby Warriors to the 1984 Minto Cup national junior championship before focusing exclusively on hockey. He played university hockey with the Cornell Big Red where he was a two-time All-American. He won the Calder Memorial Trophy as NHL rookie of the year in 1988 after becoming only the second first-year player to score 50 goals. He was a four-time All-Star, won the King Clancy Memorial Trophy in 1995 for his leadership and humanitarian work, and was named the Conn Smythe Trophy winner in 1999 as most valuable player of the postseason. Nieuwendyk played 1,257 games in his career, scoring 564 goals and 1,126 points.
Chronic back pain forced Nieuwendyk's retirement as a player in 2006. He then began a new career in management, acting first as a consultant to the general manager with the Panthers before moving onto the Maple Leafs where he was an assistant to the general manager. Nieuwendyk was the general manager of the Dallas Stars between 2009 and 2013. He most recently worked as a pro scout and advisor for the Carolina Hurricanes, until resigning his contract April 30, 2018.
Early life
Nieuwendyk was born September 10, 1966 in Oshawa, Ontario, and grew up in Whitby. He is the youngest of four children to Gordon and Joanne Nieuwendyk, who immigrated to Canada from the Netherlands in 1958. Gordon owned a car repair shop in Whitby. Joe grew up in a sporting family. His brother Gil was a box lacrosse player, while his uncle Ed Kea and cousin Jeff Beukeboom also played in the National Hockey League (NHL). His best friend growing up was future NHL teammate Gary Roberts.
He played both hockey and lacrosse growing up and the latter considered his better sport. At one point, Nieuwendyk was considered the top junior lacrosse player in Canada. He earned a spot with the Whitby Warriors junior A team at the age of 15, and was named the most valuable player of the Minto Cup tournament in 1984 when he led the Warriors to the national championship. The Ontario Lacrosse Association later named its junior A rookie of the year award after Nieuwendyk.
Playing career
College
Nieuwendyk went undrafted by any Ontario Hockey League team, and so played a season of junior B for the Pickering Panthers in 1983–84. Eligible for the 1984 NHL Entry Draft but unselected, he chose to attend Cornell University where he played hockey and lacrosse for the Big Red. He was named the Eastern College Athletic Conference (ECAC) hockey rookie of the year in 1984–85 after scoring 39 points in 23 games. At the 1985 NHL Entry Draft, the Calgary Flames selected him in the second round, 27th overall, with a pick obtained that day in a trade with the Minnesota North Stars for Kent Nilsson. The disappointment in Calgary over the trade of Nilsson resulted in some criticism of Nieuwendyk's selection, famously leading to a local newspaper to question the moves with the headline "Joe Who?"
Returning to Cornell for the 1985–86 season, Nieuwendyk chose to give up lacrosse in order to focus on hockey. He was named an ECAC first team All-Star in 1985–86 and an NCAA All-American after scoring 42 points in 21 games. In his final season at Cornell, he was named the team's most valuable player and led the ECAC in scoring with 52 points. He was again named an ECAC All-Star and NCAA All-American, and a finalist for the 1987 Hobey Baker Award.
Nieuwendyk chose to forgo his senior year in favour of turning professional. In 81 games with Cornell, Nieuwendyk scored 73 goals and 151 points, both among the highest totals in the school's history. His number 25 jersey was retired by Cornell in 2010, shared with Ken Dryden's number 1 as the first such numbers retired by the hockey team, and believed the first in any sport in the school's varsity sports history. In 2011, he was named one of the 50 greatest players in ECAC history.
Calgary Flames
Once his junior season at Cornell ended, Nieuwendyk joined the national team for five games before turning professional with the Flames. He made his NHL debut on March 10, 1987, against the Washington Capitals and scored his first NHL goal against goaltender Pete Peeters. He appeared in nine regular season games in the 1986–87 NHL season, scoring five goals and one assist, and appeared in six playoff games. Playing his first full season in 1987–88, Nieuwendyk captured the attention of the sports media by scoring 32 goals in his first 42 games to put him on a pace to surpass Mike Bossy's rookie record of 53 goals. Nieuwendyk finished two goals short of Bossy's record, but led the team with 51 goals and was the second first-year player to score at least 50 goals in one season. He played in his first NHL All-Star Game, was named to the All-Rookie Team and was voted the winner of the Calder Memorial Trophy as the NHL's top rookie.
Nieuwendyk again scored 51 goals in 1988–89 and marked the 100th of his career in his 144th career game. At the time, he was the third fastest player to reach the milestone, behind Bossy (129 games) and Maurice Richard (134 games), and was the third player in league history to score 50 goals in each of his first two seasons (Bossy and Wayne Gretzky). He led the league with 11 game-winning goals and set a Flames franchise record on January 11, 1989, when he scored five goals in one game against the Winnipeg Jets. Nieuwendyk appeared in his second of three-consecutive All-Star Games. In the 1989 Stanley Cup playoffs, he scored 10 goals and four assists to help the Flames win their first- and only -Stanley Cup championship in franchise history. In the clinching game against the Montreal Canadiens, Nieuwendyk set up Lanny McDonald's final NHL goal with a quick pass after receiving the puck from Håkan Loob.
A 45-goal season in 1989–90 was enough for Nieuwendyk to lead the team in goal scoring for the third consecutive season. He missed he first 11 games of the 1991–92 NHL season after suffering a knee injury during a summer evaluation camp for the 1991 Canada Cup. Nieuwendyk began the season as the 12th captain in the Flames franchise history. He was limited to 22 goals and 56 points on the season, but scored his 200th career goal on December 3, 1991, against the Detroit Red Wings. His 230th career goal, scored against the Tampa Bay Lightning on November 13, 1992, established a Flames franchise record for career goals (since broken).
Nieuwendyk entered the 1995–96 season unhappy with his contract status. Unable to come to terms with the Flames, he had gone to arbitration, and was awarded a contract worth C$1.85 million, but insisted on renegotiating the deal into a long-term contract extension. He refused an offer of a three-year, $6 million contract from the Flames, and as the dispute dragged on, chose not to join the team when the season began. He remained a holdout until December 19, 1995, when the Flames traded him to the Dallas Stars in exchange for Jarome Iginla and Corey Millen.
Dallas Stars
The Stars immediately signed Nieuwendyk to a new deal worth US$11.3 million over five years. Bob Gainey, the team's general manager, hoped that the acquisition of Nieuwendyk would help the franchise, which had relocated from Minnesota three years previous, establish its place in Dallas. Nieuwendyk scored 14 goals and 32 points in 52 games with the Stars to finish the 1995–96 season.
Nieuwendyk improved to 30 goals in 1996–97 despite missing the first month of the season with fractured rib cartilage. A 39-goal season followed, but he was again sidelined by injury after appearing in only one game of the 1998 Stanley Cup playoffs. In the opening game of the Stars' first-round series against the San Jose Sharks, he suffered a torn ACL as a result of a check by Bryan Marchment. The injury required two knee surgeries to repair and six months to heal, which caused him to miss the beginning of the 1998–99 NHL season.
He finished the regular season with 28 goals and 55 points in 67 games, and added 11 goals and 10 assists in the 1999 Stanley Cup playoffs to help the Stars win the first Stanley Cup in their franchise history. Six of his playoff goals were game winners, and he was voted the winner of the Conn Smythe Trophy as most valuable player of the playoffs. Injuries again limited Nieuwendyk in 1999–2000. He missed ten games due to a bruised chest then suffered a separated shoulder a week after his return that kept him out of the lineup for several weeks. He played only 47 regular season games, but added 23 more in the playoffs as the Stars reached the 2000 Stanley Cup Finals. They lost the series in six games to the New Jersey Devils, however.
Nieuwendyk played in his 1,000th career game on January 20, 2002, against the Chicago Blackhawks. Two months later, on March 19, 2002, he was traded to the Devils, along with Jamie Langenbrunner, in exchange for Jason Arnott, Randy McKay and a first round selection in the 2002 NHL Entry Draft.
New Jersey, Toronto and Florida
New Jersey, who had won the Stanley Cup in 2000 and reached the finals the following year, acquired Nieuwendyk for their playoff run in 2002. He scored 11 points in 14 regular season games for the Devils following the trade, but New Jersey was eliminated in the first round of the 2002 Stanley Cup playoffs by the Carolina Hurricanes. Nieuwendyk reached two offensive milestones in 2002–03. He scored his 500th career goal on January 17, 2003, against Carolina's Kevin Weekes. On February 23, he scored his 1,000th point in a win over the Pittsburgh Penguins. He and the Devils reached the 2003 Stanley Cup Finals, but Nieuwendyk suffered a hip injury in the sixth game of the Eastern Conference Final that prevented him from appearing in the championship series. The Devils defeated the Mighty Ducks of Anaheim in the final, capturing the franchise's third Stanley Cup. For Nieuwendyk, it was his third title with his third different team.
The Toronto Maple Leafs signed Nieuwendyk to a one-year contract for the 2003–04 season. He scored 22 goals for Toronto in a season marred by abdominal and back injuries that limited him to 64 games played. After scoring two goals in the decisive Game 7 opening round series victory against the Ottawa Senators, a groin injury that forced him out of the lineup for much of Toronto's second-round series loss to the Philadelphia Flyers. He signed another one-year deal for 2004–05, but the season was cancelled due to a labour dispute that was feared would mark the end of the 38-year-old Nieuwendyk's career.
When NHL play resumed in 2005–06, the Florida Panthers sought to bolster their lineup with veteran players. They signed both Nieuwendyk and Roberts, who had played together in Calgary and Toronto and wanted to finish their careers together, to two-year, $4.5 million contracts. Nieuwendyk appeared in 65 games during the season, scoring 26 goals and 56 points. He appeared in 15 games in 2006–07 before chronic back pain forced him onto injured reserve. After missing 14 games, Nieuwendyk announced his retirement on December 7, 2006.
International play
As a member of the Canadian national junior team at the 1986 World Junior Ice Hockey Championships, Nieuwendyk scored five goals in seven games to help Canada win a silver medal. His 12 points in the tournament tied him for third in scoring for Team Canada and fourth overall in the tournament. One year later, Nieuwendyk joined the senior national team for the Calgary Cup, a four-team exhibition tournament that served as a preview event for the 1988 Winter Olympics. He scored a goal in each of the first two games, losses to the United States and Czechoslovakia, for the Canadian team that won the bronze medal. He joined the senior team again for the 1990 Men's World Ice Hockey Championships, but appeared in only one game after suffering a knee injury. He was invited to Team Canada's summer camp for the 1991 Canada Cup tournament but suffered a knee injury that caused him to miss the entire tournament.
NHL players were first allowed to participate in the Olympic ice hockey tournament in 1998. Nieuwendyk was among the players named to join Canada's "dream team". He scored two goals and three assists in six games, but was one of several Canadian players stopped by Czech goaltender Dominik Hašek in a shootout loss in the semifinals. Canada then dropped a 3–2 decision to Finland to finish fourth. Nieuwendyk played alongside Brendan Shanahan and Theoren Fleury on Canada's checking line at the 2002 Olympic tournament. He scored one goal and helped Canada win its first Olympic hockey gold medal in 50 years.
Playing style
Cliff Fletcher, who drafted him into the NHL, described Nieuwendyk as being a "pre-eminent two-way guy who had 50-goal seasons", adding that "he had a great stick around the net, he had a great shot, he saw the ice well, he could skate, he had the size – he had everything you needed to have. History has indicated that wherever he went, the team was competitive. The more that was on the line in big games, the better Joe played." He was an offensive centre in Calgary and power play specialist, able to withstand the physical punishment required to stand in front of the net and battle defencemen for the puck. He led the NHL in power play goals in 1987–88 with 31 and finished in the top ten on four other occasions. Wayne Gretzky, who also played box lacrosse in his youth, argued that the skills Nieuwendyk learned dodging opposing players in that sport aided his development as a hockey player. Nieuwendyk was regarded as a top faceoff man, a skill that Team Canada relied on during the Olympics. He was a checking-line centre at the 2002 Olympics, relied on for his defensive and faceoff abilities.
Nieuwendyk was regarded as a leader throughout his career. He was the captain of the Flames for four seasons, and his teammates in Dallas praised him as a player who would help guide the younger players as they began their careers. His presence was considered an important factor in New Jersey's 2003 Stanley Cup championship. Devils' general manager Lou Lamoriello praised his impact both on and off the ice: "Certainly (the tangibles were) the quality player he was even at that time, how good he was defensively as well as always finding a way to get big goals. It was also about how good he was on faceoffs. And the intangibles, which are really more tangible than anything, are what he brought in the locker room from leadership and unselfishness. It was obvious that when he didn't play he was still so active in his support. He's genuine in every sense of the word. He was a true team player." Nieuwendyk was inducted into the Hockey Hall of Fame in 2011, and his uniform number 25 was honoured by the Calgary Flames on March 7, 2014, as he was named to the organization's "Forever a Flame" program.
Management career
Remaining in hockey following the end of his playing career, Nieuwendyk joined the Florida Panthers' front office as a consultant to general manager Jacques Martin in 2007. He left the Panthers after one year to join the Maple Leafs as special assistant to general manager Cliff Fletcher in 2008. He served as assistant general manager for the silver-medal winning Canadian national team at the 2009 World Championships, and on June 1, 2009, was named general manager of the Dallas Stars. His ability to make moves was at times limited by the financial difficulty of team owner Tom Hicks. Among Nieuwendyk's decisions in his first two seasons as general manager was to allow popular former captain Mike Modano to leave the organization after 22 years with the franchise in 2010. Nieuwendyk stated such moves were difficult, as he played with Modano and considered him a friend. Nieuwendyk was released as Stars' general manager at the conclusion of the 2012–13 NHL season as team owner Tom Gaglardi stated that the team wanted to "take this organization in a different direction". On September 3, 2014, the Carolina Hurricanes announced they had hired him as a pro scout and advisor. He resigned from his position with Carolina on April 30, 2018.
Personal life
Nieuwendyk and his wife Tina have three children: daughters Tyra and Kaycee and son Jackson. In 1995, while a member of the Flames, Nieuwendyk won the King Clancy Memorial Trophy given annually to the player "who best exemplifies leadership qualities on and off the ice and who has made a significant humanitarian contribution to his community". He was honoured by the league for his contributions to the Society for the Prevention of Cruelty to Animals (SPCA), and was a spokesman and honorary chairman of the Foothills Hospital Foundation. He remained active with the SPCA after his trade to Dallas, and following the September 11 attacks, organized a charity softball game that raised $115,000 for charitable groups in the aftermath of the attack. While a member of the Maple Leafs during the lockout, he participated in a charity hockey game organized by cancer survivor and former NHL player Keith Acton that raised $30,000 for cancer and leukemia charities in southern Ontario.
Career statistics
Regular season and playoffs
International
Awards and honours
References
External links
1966 births
Living people
Calder Trophy winners
Calgary Flames captains
Calgary Flames draft picks
Calgary Flames players
Canadian ice hockey centres
Canadian lacrosse players
Canadian people of Dutch descent
Carolina Hurricanes scouts
Conn Smythe Trophy winners
Cornell Big Red men's ice hockey players
Dallas Stars executives
Dallas Stars players
Florida Panthers executives
Florida Panthers players
Hockey Hall of Fame inductees
Sportspeople from Oshawa
Sportspeople from Whitby, Ontario
Ice hockey players at the 1998 Winter Olympics
Ice hockey players at the 2002 Winter Olympics
King Clancy Memorial Trophy winners
Medalists at the 2002 Winter Olympics
National Hockey League All-Stars
New Jersey Devils players
Olympic gold medalists for Canada
Olympic ice hockey players of Canada
Olympic medalists in ice hockey
Stanley Cup champions
Toronto Maple Leafs players
Ice hockey people from Ontario
AHCA Division I men's ice hockey All-Americans | true | [
"Delayed milestone, also called developmental delays, is used to describe the condition where a child does not reach one of these stages at the expected age. However, in most cases, a wide variety of ages can be considered normal, and not a cause for medical concern. Milestones are often measured using percentiles, and for many milestones a value between the 5th and 95th percentile does not require intervention, though values towards the edges of that range can be associated with other medical conditions.\nIt is not possible to treat.\nIt has been suggested that measurement of posture sway may be an early indicator.\n\nSee also\n Behavioral cusp\n Developmental milestones\n Intellectual disability\n\nReferences\n\nExternal links \n\n CDC's \"Learn the Signs. Act Early.” campaign - Information for parents on early childhood development and developmental disabilities\n \"Recognizing Developmental Delays in Children\", WebMD, retrieved 31 May 2019\n\nSymptoms and signs",
"So What is an acoustic jazz album by Jerry Garcia and David Grisman. It was released on the Acoustic Disc record label in August 1998.\n\nTrack listing\n \"So What\" (Miles Davis) – 6:55\n \"Bag's Groove\" (Milt Jackson) – 8:43\n \"Milestones\" (Davis) – 7:55\n \"16/16\" (David Grisman) – 6:18\n \"So What\" (Davis) – 7:51\n \"Bag's Groove\" (Jackson) – 8:22\n \"Milestones\" (Davis) – 10:18\n \"So What\" (Davis) – 7:40\n\nPersonnel\n\nMusicians\nJerry Garcia - guitar\nDavid Grisman - mandolin\nJim Kerwin - bass\nJoe Craven - percussion\nMatt Eakle - flute (tracks 2 and 4)\n\nProduction\nDavid Grisman – producer\nCraig Miller – executive producer\nDavid Dennison – recording, mixing\nPaul Stubblebine – mastering\nAlice G. Patterson – back cover photograph\nD. Brent Houseman – layout and design\nJerry Garcia – original artwork\n\nReferences\n\n1998 albums\nAcoustic Disc albums\nDavid Grisman albums\nJerry Garcia albums\nCollaborative albums"
]
|
[
"Joe Nieuwendyk",
"New Jersey, Toronto and Florida",
"What happned in New Jersey, Toronto, and Florida?",
"New Jersey, who had won the Stanley Cup in 2000 and reached the finals the following year, acquired Nieuwendyk for their playoff run in 2002.",
"Did he ever participate in the playoff run?",
"New Jersey, who had won the Stanley Cup in 2000 and reached the finals the following year, acquired Nieuwendyk for their playoff run in 2002.",
"Are there any other interesting aspects about this article?",
"Nieuwendyk reached two offensive milestones in 2002-03. He scored his 500th career goal on January 17, 2003, against Carolina's Kevin Weekes.",
"What ohter milestones did he reach?",
"He and the Devils reached the 2003 Stanley Cup Finals, but Nieuwendyk suffered a hip injury in the sixth game of the Eastern Conference"
]
| C_96cf32367ed04f83b57408823d4d1cfd_0 | How bad was his injury? | 5 | How bad was Joe Nieuwendyk injury? | Joe Nieuwendyk | New Jersey, who had won the Stanley Cup in 2000 and reached the finals the following year, acquired Nieuwendyk for their playoff run in 2002. He scored 11 points in 14 regular season games for the Devils following the trade, but New Jersey was eliminated in the first round of the 2002 Stanley Cup playoffs by the Carolina Hurricanes. Nieuwendyk reached two offensive milestones in 2002-03. He scored his 500th career goal on January 17, 2003, against Carolina's Kevin Weekes. On February 23, he scored his 1,000th point in a win over the Pittsburgh Penguins. He and the Devils reached the 2003 Stanley Cup Finals, but Nieuwendyk suffered a hip injury in the sixth game of the Eastern Conference Final that prevented him from appearing in the championship series. The Devils defeated the Mighty Ducks of Anaheim in the final, capturing the franchise's third Stanley Cup. For Nieuwendyk, it was his third title with his third different team. The Toronto Maple Leafs signed Nieuwendyk to a one-year contract for the 2003-04 season. He scored 22 goals for Toronto in a season marred by abdominal and back injuries that limited him to 64 games played, and a groin injury that forced him out of the lineup for much of Toronto's second-round series loss to the Philadelphia Flyers. He signed another one-year deal for 2004-05, but the season was cancelled due to a labour dispute that was feared would mark the end of the 38-year-old Nieuwendyk's career. When NHL play resumed in 2005-06, the Florida Panthers sought to bolster their lineup with veteran players. They signed both Nieuwendyk and Roberts, who had played together in Calgary and Toronto and wanted to finish their careers together, to two-year, $4.5 million contracts. Nieuwendyk appeared in 65 games during the season, scoring 26 goals and 56 points. He appeared in 15 games in 2006-07 before chronic back pain forced him onto injured reserve. After missing 14 games, Nieuwendyk announced his retirement on December 7, 2006. CANNOTANSWER | CANNOTANSWER | Joseph Nieuwendyk ( ; born September 10, 1966) is a Canadian former National Hockey League (NHL) player. He was a second round selection of the Calgary Flames, 27th overall, at the 1985 NHL Entry Draft and played 20 seasons for the Flames, Dallas Stars, New Jersey Devils, Toronto Maple Leafs, and Florida Panthers. He is one of only 11 players in NHL history to win the Stanley Cup with three or more different teams, winning titles with Calgary in 1989, Dallas in 1999 and New Jersey in 2003. A two-time Olympian, Nieuwendyk won a gold medal with Team Canada at the 2002 winter games. He was inducted into the Hockey Hall of Fame in 2011 and his uniform number 25 was honoured by the Flames in 2014. Joe Nieuwendyk was inducted into the Ontario Sports Hall of Fame in 2014. In 2017 Nieuwendyk was named one of the '100 Greatest NHL Players' in history.
An accomplished box lacrosse player, Nieuwendyk led the Whitby Warriors to the 1984 Minto Cup national junior championship before focusing exclusively on hockey. He played university hockey with the Cornell Big Red where he was a two-time All-American. He won the Calder Memorial Trophy as NHL rookie of the year in 1988 after becoming only the second first-year player to score 50 goals. He was a four-time All-Star, won the King Clancy Memorial Trophy in 1995 for his leadership and humanitarian work, and was named the Conn Smythe Trophy winner in 1999 as most valuable player of the postseason. Nieuwendyk played 1,257 games in his career, scoring 564 goals and 1,126 points.
Chronic back pain forced Nieuwendyk's retirement as a player in 2006. He then began a new career in management, acting first as a consultant to the general manager with the Panthers before moving onto the Maple Leafs where he was an assistant to the general manager. Nieuwendyk was the general manager of the Dallas Stars between 2009 and 2013. He most recently worked as a pro scout and advisor for the Carolina Hurricanes, until resigning his contract April 30, 2018.
Early life
Nieuwendyk was born September 10, 1966 in Oshawa, Ontario, and grew up in Whitby. He is the youngest of four children to Gordon and Joanne Nieuwendyk, who immigrated to Canada from the Netherlands in 1958. Gordon owned a car repair shop in Whitby. Joe grew up in a sporting family. His brother Gil was a box lacrosse player, while his uncle Ed Kea and cousin Jeff Beukeboom also played in the National Hockey League (NHL). His best friend growing up was future NHL teammate Gary Roberts.
He played both hockey and lacrosse growing up and the latter considered his better sport. At one point, Nieuwendyk was considered the top junior lacrosse player in Canada. He earned a spot with the Whitby Warriors junior A team at the age of 15, and was named the most valuable player of the Minto Cup tournament in 1984 when he led the Warriors to the national championship. The Ontario Lacrosse Association later named its junior A rookie of the year award after Nieuwendyk.
Playing career
College
Nieuwendyk went undrafted by any Ontario Hockey League team, and so played a season of junior B for the Pickering Panthers in 1983–84. Eligible for the 1984 NHL Entry Draft but unselected, he chose to attend Cornell University where he played hockey and lacrosse for the Big Red. He was named the Eastern College Athletic Conference (ECAC) hockey rookie of the year in 1984–85 after scoring 39 points in 23 games. At the 1985 NHL Entry Draft, the Calgary Flames selected him in the second round, 27th overall, with a pick obtained that day in a trade with the Minnesota North Stars for Kent Nilsson. The disappointment in Calgary over the trade of Nilsson resulted in some criticism of Nieuwendyk's selection, famously leading to a local newspaper to question the moves with the headline "Joe Who?"
Returning to Cornell for the 1985–86 season, Nieuwendyk chose to give up lacrosse in order to focus on hockey. He was named an ECAC first team All-Star in 1985–86 and an NCAA All-American after scoring 42 points in 21 games. In his final season at Cornell, he was named the team's most valuable player and led the ECAC in scoring with 52 points. He was again named an ECAC All-Star and NCAA All-American, and a finalist for the 1987 Hobey Baker Award.
Nieuwendyk chose to forgo his senior year in favour of turning professional. In 81 games with Cornell, Nieuwendyk scored 73 goals and 151 points, both among the highest totals in the school's history. His number 25 jersey was retired by Cornell in 2010, shared with Ken Dryden's number 1 as the first such numbers retired by the hockey team, and believed the first in any sport in the school's varsity sports history. In 2011, he was named one of the 50 greatest players in ECAC history.
Calgary Flames
Once his junior season at Cornell ended, Nieuwendyk joined the national team for five games before turning professional with the Flames. He made his NHL debut on March 10, 1987, against the Washington Capitals and scored his first NHL goal against goaltender Pete Peeters. He appeared in nine regular season games in the 1986–87 NHL season, scoring five goals and one assist, and appeared in six playoff games. Playing his first full season in 1987–88, Nieuwendyk captured the attention of the sports media by scoring 32 goals in his first 42 games to put him on a pace to surpass Mike Bossy's rookie record of 53 goals. Nieuwendyk finished two goals short of Bossy's record, but led the team with 51 goals and was the second first-year player to score at least 50 goals in one season. He played in his first NHL All-Star Game, was named to the All-Rookie Team and was voted the winner of the Calder Memorial Trophy as the NHL's top rookie.
Nieuwendyk again scored 51 goals in 1988–89 and marked the 100th of his career in his 144th career game. At the time, he was the third fastest player to reach the milestone, behind Bossy (129 games) and Maurice Richard (134 games), and was the third player in league history to score 50 goals in each of his first two seasons (Bossy and Wayne Gretzky). He led the league with 11 game-winning goals and set a Flames franchise record on January 11, 1989, when he scored five goals in one game against the Winnipeg Jets. Nieuwendyk appeared in his second of three-consecutive All-Star Games. In the 1989 Stanley Cup playoffs, he scored 10 goals and four assists to help the Flames win their first- and only -Stanley Cup championship in franchise history. In the clinching game against the Montreal Canadiens, Nieuwendyk set up Lanny McDonald's final NHL goal with a quick pass after receiving the puck from Håkan Loob.
A 45-goal season in 1989–90 was enough for Nieuwendyk to lead the team in goal scoring for the third consecutive season. He missed he first 11 games of the 1991–92 NHL season after suffering a knee injury during a summer evaluation camp for the 1991 Canada Cup. Nieuwendyk began the season as the 12th captain in the Flames franchise history. He was limited to 22 goals and 56 points on the season, but scored his 200th career goal on December 3, 1991, against the Detroit Red Wings. His 230th career goal, scored against the Tampa Bay Lightning on November 13, 1992, established a Flames franchise record for career goals (since broken).
Nieuwendyk entered the 1995–96 season unhappy with his contract status. Unable to come to terms with the Flames, he had gone to arbitration, and was awarded a contract worth C$1.85 million, but insisted on renegotiating the deal into a long-term contract extension. He refused an offer of a three-year, $6 million contract from the Flames, and as the dispute dragged on, chose not to join the team when the season began. He remained a holdout until December 19, 1995, when the Flames traded him to the Dallas Stars in exchange for Jarome Iginla and Corey Millen.
Dallas Stars
The Stars immediately signed Nieuwendyk to a new deal worth US$11.3 million over five years. Bob Gainey, the team's general manager, hoped that the acquisition of Nieuwendyk would help the franchise, which had relocated from Minnesota three years previous, establish its place in Dallas. Nieuwendyk scored 14 goals and 32 points in 52 games with the Stars to finish the 1995–96 season.
Nieuwendyk improved to 30 goals in 1996–97 despite missing the first month of the season with fractured rib cartilage. A 39-goal season followed, but he was again sidelined by injury after appearing in only one game of the 1998 Stanley Cup playoffs. In the opening game of the Stars' first-round series against the San Jose Sharks, he suffered a torn ACL as a result of a check by Bryan Marchment. The injury required two knee surgeries to repair and six months to heal, which caused him to miss the beginning of the 1998–99 NHL season.
He finished the regular season with 28 goals and 55 points in 67 games, and added 11 goals and 10 assists in the 1999 Stanley Cup playoffs to help the Stars win the first Stanley Cup in their franchise history. Six of his playoff goals were game winners, and he was voted the winner of the Conn Smythe Trophy as most valuable player of the playoffs. Injuries again limited Nieuwendyk in 1999–2000. He missed ten games due to a bruised chest then suffered a separated shoulder a week after his return that kept him out of the lineup for several weeks. He played only 47 regular season games, but added 23 more in the playoffs as the Stars reached the 2000 Stanley Cup Finals. They lost the series in six games to the New Jersey Devils, however.
Nieuwendyk played in his 1,000th career game on January 20, 2002, against the Chicago Blackhawks. Two months later, on March 19, 2002, he was traded to the Devils, along with Jamie Langenbrunner, in exchange for Jason Arnott, Randy McKay and a first round selection in the 2002 NHL Entry Draft.
New Jersey, Toronto and Florida
New Jersey, who had won the Stanley Cup in 2000 and reached the finals the following year, acquired Nieuwendyk for their playoff run in 2002. He scored 11 points in 14 regular season games for the Devils following the trade, but New Jersey was eliminated in the first round of the 2002 Stanley Cup playoffs by the Carolina Hurricanes. Nieuwendyk reached two offensive milestones in 2002–03. He scored his 500th career goal on January 17, 2003, against Carolina's Kevin Weekes. On February 23, he scored his 1,000th point in a win over the Pittsburgh Penguins. He and the Devils reached the 2003 Stanley Cup Finals, but Nieuwendyk suffered a hip injury in the sixth game of the Eastern Conference Final that prevented him from appearing in the championship series. The Devils defeated the Mighty Ducks of Anaheim in the final, capturing the franchise's third Stanley Cup. For Nieuwendyk, it was his third title with his third different team.
The Toronto Maple Leafs signed Nieuwendyk to a one-year contract for the 2003–04 season. He scored 22 goals for Toronto in a season marred by abdominal and back injuries that limited him to 64 games played. After scoring two goals in the decisive Game 7 opening round series victory against the Ottawa Senators, a groin injury that forced him out of the lineup for much of Toronto's second-round series loss to the Philadelphia Flyers. He signed another one-year deal for 2004–05, but the season was cancelled due to a labour dispute that was feared would mark the end of the 38-year-old Nieuwendyk's career.
When NHL play resumed in 2005–06, the Florida Panthers sought to bolster their lineup with veteran players. They signed both Nieuwendyk and Roberts, who had played together in Calgary and Toronto and wanted to finish their careers together, to two-year, $4.5 million contracts. Nieuwendyk appeared in 65 games during the season, scoring 26 goals and 56 points. He appeared in 15 games in 2006–07 before chronic back pain forced him onto injured reserve. After missing 14 games, Nieuwendyk announced his retirement on December 7, 2006.
International play
As a member of the Canadian national junior team at the 1986 World Junior Ice Hockey Championships, Nieuwendyk scored five goals in seven games to help Canada win a silver medal. His 12 points in the tournament tied him for third in scoring for Team Canada and fourth overall in the tournament. One year later, Nieuwendyk joined the senior national team for the Calgary Cup, a four-team exhibition tournament that served as a preview event for the 1988 Winter Olympics. He scored a goal in each of the first two games, losses to the United States and Czechoslovakia, for the Canadian team that won the bronze medal. He joined the senior team again for the 1990 Men's World Ice Hockey Championships, but appeared in only one game after suffering a knee injury. He was invited to Team Canada's summer camp for the 1991 Canada Cup tournament but suffered a knee injury that caused him to miss the entire tournament.
NHL players were first allowed to participate in the Olympic ice hockey tournament in 1998. Nieuwendyk was among the players named to join Canada's "dream team". He scored two goals and three assists in six games, but was one of several Canadian players stopped by Czech goaltender Dominik Hašek in a shootout loss in the semifinals. Canada then dropped a 3–2 decision to Finland to finish fourth. Nieuwendyk played alongside Brendan Shanahan and Theoren Fleury on Canada's checking line at the 2002 Olympic tournament. He scored one goal and helped Canada win its first Olympic hockey gold medal in 50 years.
Playing style
Cliff Fletcher, who drafted him into the NHL, described Nieuwendyk as being a "pre-eminent two-way guy who had 50-goal seasons", adding that "he had a great stick around the net, he had a great shot, he saw the ice well, he could skate, he had the size – he had everything you needed to have. History has indicated that wherever he went, the team was competitive. The more that was on the line in big games, the better Joe played." He was an offensive centre in Calgary and power play specialist, able to withstand the physical punishment required to stand in front of the net and battle defencemen for the puck. He led the NHL in power play goals in 1987–88 with 31 and finished in the top ten on four other occasions. Wayne Gretzky, who also played box lacrosse in his youth, argued that the skills Nieuwendyk learned dodging opposing players in that sport aided his development as a hockey player. Nieuwendyk was regarded as a top faceoff man, a skill that Team Canada relied on during the Olympics. He was a checking-line centre at the 2002 Olympics, relied on for his defensive and faceoff abilities.
Nieuwendyk was regarded as a leader throughout his career. He was the captain of the Flames for four seasons, and his teammates in Dallas praised him as a player who would help guide the younger players as they began their careers. His presence was considered an important factor in New Jersey's 2003 Stanley Cup championship. Devils' general manager Lou Lamoriello praised his impact both on and off the ice: "Certainly (the tangibles were) the quality player he was even at that time, how good he was defensively as well as always finding a way to get big goals. It was also about how good he was on faceoffs. And the intangibles, which are really more tangible than anything, are what he brought in the locker room from leadership and unselfishness. It was obvious that when he didn't play he was still so active in his support. He's genuine in every sense of the word. He was a true team player." Nieuwendyk was inducted into the Hockey Hall of Fame in 2011, and his uniform number 25 was honoured by the Calgary Flames on March 7, 2014, as he was named to the organization's "Forever a Flame" program.
Management career
Remaining in hockey following the end of his playing career, Nieuwendyk joined the Florida Panthers' front office as a consultant to general manager Jacques Martin in 2007. He left the Panthers after one year to join the Maple Leafs as special assistant to general manager Cliff Fletcher in 2008. He served as assistant general manager for the silver-medal winning Canadian national team at the 2009 World Championships, and on June 1, 2009, was named general manager of the Dallas Stars. His ability to make moves was at times limited by the financial difficulty of team owner Tom Hicks. Among Nieuwendyk's decisions in his first two seasons as general manager was to allow popular former captain Mike Modano to leave the organization after 22 years with the franchise in 2010. Nieuwendyk stated such moves were difficult, as he played with Modano and considered him a friend. Nieuwendyk was released as Stars' general manager at the conclusion of the 2012–13 NHL season as team owner Tom Gaglardi stated that the team wanted to "take this organization in a different direction". On September 3, 2014, the Carolina Hurricanes announced they had hired him as a pro scout and advisor. He resigned from his position with Carolina on April 30, 2018.
Personal life
Nieuwendyk and his wife Tina have three children: daughters Tyra and Kaycee and son Jackson. In 1995, while a member of the Flames, Nieuwendyk won the King Clancy Memorial Trophy given annually to the player "who best exemplifies leadership qualities on and off the ice and who has made a significant humanitarian contribution to his community". He was honoured by the league for his contributions to the Society for the Prevention of Cruelty to Animals (SPCA), and was a spokesman and honorary chairman of the Foothills Hospital Foundation. He remained active with the SPCA after his trade to Dallas, and following the September 11 attacks, organized a charity softball game that raised $115,000 for charitable groups in the aftermath of the attack. While a member of the Maple Leafs during the lockout, he participated in a charity hockey game organized by cancer survivor and former NHL player Keith Acton that raised $30,000 for cancer and leukemia charities in southern Ontario.
Career statistics
Regular season and playoffs
International
Awards and honours
References
External links
1966 births
Living people
Calder Trophy winners
Calgary Flames captains
Calgary Flames draft picks
Calgary Flames players
Canadian ice hockey centres
Canadian lacrosse players
Canadian people of Dutch descent
Carolina Hurricanes scouts
Conn Smythe Trophy winners
Cornell Big Red men's ice hockey players
Dallas Stars executives
Dallas Stars players
Florida Panthers executives
Florida Panthers players
Hockey Hall of Fame inductees
Sportspeople from Oshawa
Sportspeople from Whitby, Ontario
Ice hockey players at the 1998 Winter Olympics
Ice hockey players at the 2002 Winter Olympics
King Clancy Memorial Trophy winners
Medalists at the 2002 Winter Olympics
National Hockey League All-Stars
New Jersey Devils players
Olympic gold medalists for Canada
Olympic ice hockey players of Canada
Olympic medalists in ice hockey
Stanley Cup champions
Toronto Maple Leafs players
Ice hockey people from Ontario
AHCA Division I men's ice hockey All-Americans | false | [
"Bad Religion is an American punk rock band from Los Angeles, California. Formed in 1980, the group originally included vocalist Greg Graffin, guitarist Brett Gurewitz, bassist Jay Bentley and drummer Jay Ziskrout. Ziskrout left the band halfway through the recording of their debut full-length album How Could Hell Be Any Worse? and was replaced for the rest of the sessions by Pete Finestone. 1983's Into the Unknown featured bassist Paul Dedona and Davy Goldman, both of whom left after the album was released. Bad Religion briefly broke up in 1984, as Gurewitz left the band to focus on his record label Epitaph Records and recording studio Westbeach Recorders, before returning with guitarist Greg Hetson, bassist Tim Gallegos and drummer Finestone for the 1985 EP Back to the Known.\n\nBentley and later Gurewitz returned to Bad Religion in 1986, with the five-piece lineup releasing three albums in three years before Finestone left again in 1991. He was replaced by Bobby Schayer, whose first album with the band was Generator in 1992. After Bad Religion signed to Atlantic Records and released Stranger than Fiction in 1994, Gurewitz left the band again. Shortly after the album's release, Brian Baker took Gurewitz's place in the group. After three more albums, Schayer departed the band in 2001 due to a shoulder injury, and was replaced by Brooks Wackerman. Around the same time, Gurewitz returned to the band for a third time. Longtime guitarist Hetson left in 2013 and was replaced by Mike Dimkich, and in 2016 Jamie Miller replaced Wackerman after he joined Avenged Sevenfold.\n\nMembers\n\nCurrent\n\nFormer\n\nTimeline\n\nLineups\n\nReferences\n\nExternal links\nBad Religion official website\n\nBad Religion",
"How Could Hell Be Any Worse? is the first full-length album by American punk rock band Bad Religion, released on January 19, 1982 by Epitaph Records. Released almost a year after their self-titled EP, it was financed by a $3,000 loan by guitarist Brett Gurewitz's father. Its success surprised the band when it sold 10,000 copies in under a year.\n\nHow Could Hell Be Any Worse? was recorded over two time periods at Track Record Studios in North Hollywood, California, during October–November 1980 and again in January 1981. After the original recording sessions, drummer Jay Ziskrout left Bad Religion and was replaced by his friend and the band's roadie Pete Finestone, who was brought in to complete the rest of the album. Though not yet credited as a member of the band, future guitarist Greg Hetson, who was in Circle Jerks during this time, provided a guitar solo on \"Part III\". How Could Hell Be Any Worse? was also Bad Religion's last album featuring Jay Bentley on bass for six years, until 1988's Suffer.\n\nThe front cover photograph was taken by Edward Colver near the Hollywood Bowl, while the back cover featured one of Gustave Dore's illustrations of Dante's Divine Comedy.\n\nBackground and production\nBad Religion had made at least two attempts to make a full-length studio album after the recording of their self-titled EP, which was finished prior to the sessions of How Could Hell Be Any Worse?. The band, lacking money at the time, recorded most of the album for free at Track Record Studios in North Hollywood, California over two nights, from October 31 to November 1, 1980; seven songs were recorded on the first night and mixed on the following day. Throughout November of that year, Bad Religion continued to write new material, and drummer Jay Ziskrout soon left the band, replaced by his friend and roadie Pete Finestone. Vocalist Greg Graffin said regarding Ziskrout's departure: \"It was for some really stupid reason. Like 'you guys don't listen to me enough, fuck you, I quit.' He walked out of the rehearsal studio, and left his drums and everything. We're halfway finished with How Could Hell Be Any Worse, and Bad Religion was without a drummer\". After \"some quick practices\" at Graffin's mother's garage, also referred to as The Hellhole, Bad Religion returned to recording How Could Hell Be Any Worse? again in January 1981 and finished the album over the weekend.\n\nReception\n\nCritical reception to How Could Hell Be Any Worse? has been positive. Johnny Loftus of AllMusic awarded the album 3 out of 5 stars and stated that How Could Hell Be Any Worse? is \"like cupping your ear against the garage door of their practice space. Greg Graffin's vocal style isn't fully formed here, nor is his lyrical agenda, but the building blocks are significant and affecting, bigger than piles of collapsed cathedrals\".\n\nRage Against the Machine's Zack de la Rocha spoke about Bad Religion to the OC Register during the band's 30-year anniversary in 2010. Speaking about How Could Hell Be Any Worse?, he said: \"I remember hearing BR's How Could Hell Be Any Worse? for the first time in 1985, I was fifteen. The first thing I remember is pulling the insert from the sleeve of the record and seeing those drawings from Dante's Inferno, and that red wash over the blurry shot of Los Angeles, and I admit I was scared. A little terrified even. I had no idea what to expect. When the needle hit the record I have to say it was a defining moment for me. The music was darker than most punk records I had heard. It was almost gothic, and there was a genuine sadness to the melodies. Listening to the words I remember being overwhelmed. It wasn't some revelation that god didn't exist ... it was more like an injection of the sad truth. That our condition is the product of the mess of our own making ... and at fifteen that was as scary as the inferno drawings. I wasn't reading Sartre or Nietzsche, and I'm convinced now that if I was it wouldn't have had the same effect. Throughout the record there was very little relief from the sad truths except one: 'there are two things you can do ... one is to turn and fight ... the other's to go headlong into the night.' Truly one of the greatest L.A. bands\". De la Rocha also said that the song \"Fuck Armageddon...This Is Hell\" changed his life.\n\nTrack listing\n\nReissues\nHow Could Hell Be Any Worse? has been reissued many times. It was first reissued in 1988 with a different catalogue number and Epitaph's then-current address. It was released on CD as part of the 1991 compilation 80–85, containing all of the band's material from 1981 to 1985 (except Into the Unknown) in its entirety.\n\nA CD remaster for How Could Hell Be Any Worse? was released in 2004, along with Suffer, No Control, Against the Grain, Generator and a DVD reissue of their long-out of print 1992 live video Along the Way. The remastered version of How Could Hell Be Any Worse? contained the same track listing as 80–85.\n\nPersonnel\nGreg Graffin - vocals, piano\nBrett Gurewitz - guitars\nJay Bentley - bass\nPete Finestone - drums on tracks 1, 3, 4, 6, 7 and 13\nJay Ziskrout - drums on tracks 2, 5, 8-12 and 14\nGreg Hetson - guitar solo on Part III\n\nReferences\n\nExternal links\n\nHow Could Hell Be Any Worse? (reissue) at YouTube (streamed copy where licensed)\n\nBad Religion albums\n1982 debut albums\nEpitaph Records albums"
]
|
[
"Joe Nieuwendyk",
"New Jersey, Toronto and Florida",
"What happned in New Jersey, Toronto, and Florida?",
"New Jersey, who had won the Stanley Cup in 2000 and reached the finals the following year, acquired Nieuwendyk for their playoff run in 2002.",
"Did he ever participate in the playoff run?",
"New Jersey, who had won the Stanley Cup in 2000 and reached the finals the following year, acquired Nieuwendyk for their playoff run in 2002.",
"Are there any other interesting aspects about this article?",
"Nieuwendyk reached two offensive milestones in 2002-03. He scored his 500th career goal on January 17, 2003, against Carolina's Kevin Weekes.",
"What ohter milestones did he reach?",
"He and the Devils reached the 2003 Stanley Cup Finals, but Nieuwendyk suffered a hip injury in the sixth game of the Eastern Conference",
"How bad was his injury?",
"I don't know."
]
| C_96cf32367ed04f83b57408823d4d1cfd_0 | Was he ever able to play again? | 6 | Was Joe Nieuwendyk ever able to play again? | Joe Nieuwendyk | New Jersey, who had won the Stanley Cup in 2000 and reached the finals the following year, acquired Nieuwendyk for their playoff run in 2002. He scored 11 points in 14 regular season games for the Devils following the trade, but New Jersey was eliminated in the first round of the 2002 Stanley Cup playoffs by the Carolina Hurricanes. Nieuwendyk reached two offensive milestones in 2002-03. He scored his 500th career goal on January 17, 2003, against Carolina's Kevin Weekes. On February 23, he scored his 1,000th point in a win over the Pittsburgh Penguins. He and the Devils reached the 2003 Stanley Cup Finals, but Nieuwendyk suffered a hip injury in the sixth game of the Eastern Conference Final that prevented him from appearing in the championship series. The Devils defeated the Mighty Ducks of Anaheim in the final, capturing the franchise's third Stanley Cup. For Nieuwendyk, it was his third title with his third different team. The Toronto Maple Leafs signed Nieuwendyk to a one-year contract for the 2003-04 season. He scored 22 goals for Toronto in a season marred by abdominal and back injuries that limited him to 64 games played, and a groin injury that forced him out of the lineup for much of Toronto's second-round series loss to the Philadelphia Flyers. He signed another one-year deal for 2004-05, but the season was cancelled due to a labour dispute that was feared would mark the end of the 38-year-old Nieuwendyk's career. When NHL play resumed in 2005-06, the Florida Panthers sought to bolster their lineup with veteran players. They signed both Nieuwendyk and Roberts, who had played together in Calgary and Toronto and wanted to finish their careers together, to two-year, $4.5 million contracts. Nieuwendyk appeared in 65 games during the season, scoring 26 goals and 56 points. He appeared in 15 games in 2006-07 before chronic back pain forced him onto injured reserve. After missing 14 games, Nieuwendyk announced his retirement on December 7, 2006. CANNOTANSWER | The Toronto Maple Leafs signed Nieuwendyk to a one-year contract for the 2003-04 season. | Joseph Nieuwendyk ( ; born September 10, 1966) is a Canadian former National Hockey League (NHL) player. He was a second round selection of the Calgary Flames, 27th overall, at the 1985 NHL Entry Draft and played 20 seasons for the Flames, Dallas Stars, New Jersey Devils, Toronto Maple Leafs, and Florida Panthers. He is one of only 11 players in NHL history to win the Stanley Cup with three or more different teams, winning titles with Calgary in 1989, Dallas in 1999 and New Jersey in 2003. A two-time Olympian, Nieuwendyk won a gold medal with Team Canada at the 2002 winter games. He was inducted into the Hockey Hall of Fame in 2011 and his uniform number 25 was honoured by the Flames in 2014. Joe Nieuwendyk was inducted into the Ontario Sports Hall of Fame in 2014. In 2017 Nieuwendyk was named one of the '100 Greatest NHL Players' in history.
An accomplished box lacrosse player, Nieuwendyk led the Whitby Warriors to the 1984 Minto Cup national junior championship before focusing exclusively on hockey. He played university hockey with the Cornell Big Red where he was a two-time All-American. He won the Calder Memorial Trophy as NHL rookie of the year in 1988 after becoming only the second first-year player to score 50 goals. He was a four-time All-Star, won the King Clancy Memorial Trophy in 1995 for his leadership and humanitarian work, and was named the Conn Smythe Trophy winner in 1999 as most valuable player of the postseason. Nieuwendyk played 1,257 games in his career, scoring 564 goals and 1,126 points.
Chronic back pain forced Nieuwendyk's retirement as a player in 2006. He then began a new career in management, acting first as a consultant to the general manager with the Panthers before moving onto the Maple Leafs where he was an assistant to the general manager. Nieuwendyk was the general manager of the Dallas Stars between 2009 and 2013. He most recently worked as a pro scout and advisor for the Carolina Hurricanes, until resigning his contract April 30, 2018.
Early life
Nieuwendyk was born September 10, 1966 in Oshawa, Ontario, and grew up in Whitby. He is the youngest of four children to Gordon and Joanne Nieuwendyk, who immigrated to Canada from the Netherlands in 1958. Gordon owned a car repair shop in Whitby. Joe grew up in a sporting family. His brother Gil was a box lacrosse player, while his uncle Ed Kea and cousin Jeff Beukeboom also played in the National Hockey League (NHL). His best friend growing up was future NHL teammate Gary Roberts.
He played both hockey and lacrosse growing up and the latter considered his better sport. At one point, Nieuwendyk was considered the top junior lacrosse player in Canada. He earned a spot with the Whitby Warriors junior A team at the age of 15, and was named the most valuable player of the Minto Cup tournament in 1984 when he led the Warriors to the national championship. The Ontario Lacrosse Association later named its junior A rookie of the year award after Nieuwendyk.
Playing career
College
Nieuwendyk went undrafted by any Ontario Hockey League team, and so played a season of junior B for the Pickering Panthers in 1983–84. Eligible for the 1984 NHL Entry Draft but unselected, he chose to attend Cornell University where he played hockey and lacrosse for the Big Red. He was named the Eastern College Athletic Conference (ECAC) hockey rookie of the year in 1984–85 after scoring 39 points in 23 games. At the 1985 NHL Entry Draft, the Calgary Flames selected him in the second round, 27th overall, with a pick obtained that day in a trade with the Minnesota North Stars for Kent Nilsson. The disappointment in Calgary over the trade of Nilsson resulted in some criticism of Nieuwendyk's selection, famously leading to a local newspaper to question the moves with the headline "Joe Who?"
Returning to Cornell for the 1985–86 season, Nieuwendyk chose to give up lacrosse in order to focus on hockey. He was named an ECAC first team All-Star in 1985–86 and an NCAA All-American after scoring 42 points in 21 games. In his final season at Cornell, he was named the team's most valuable player and led the ECAC in scoring with 52 points. He was again named an ECAC All-Star and NCAA All-American, and a finalist for the 1987 Hobey Baker Award.
Nieuwendyk chose to forgo his senior year in favour of turning professional. In 81 games with Cornell, Nieuwendyk scored 73 goals and 151 points, both among the highest totals in the school's history. His number 25 jersey was retired by Cornell in 2010, shared with Ken Dryden's number 1 as the first such numbers retired by the hockey team, and believed the first in any sport in the school's varsity sports history. In 2011, he was named one of the 50 greatest players in ECAC history.
Calgary Flames
Once his junior season at Cornell ended, Nieuwendyk joined the national team for five games before turning professional with the Flames. He made his NHL debut on March 10, 1987, against the Washington Capitals and scored his first NHL goal against goaltender Pete Peeters. He appeared in nine regular season games in the 1986–87 NHL season, scoring five goals and one assist, and appeared in six playoff games. Playing his first full season in 1987–88, Nieuwendyk captured the attention of the sports media by scoring 32 goals in his first 42 games to put him on a pace to surpass Mike Bossy's rookie record of 53 goals. Nieuwendyk finished two goals short of Bossy's record, but led the team with 51 goals and was the second first-year player to score at least 50 goals in one season. He played in his first NHL All-Star Game, was named to the All-Rookie Team and was voted the winner of the Calder Memorial Trophy as the NHL's top rookie.
Nieuwendyk again scored 51 goals in 1988–89 and marked the 100th of his career in his 144th career game. At the time, he was the third fastest player to reach the milestone, behind Bossy (129 games) and Maurice Richard (134 games), and was the third player in league history to score 50 goals in each of his first two seasons (Bossy and Wayne Gretzky). He led the league with 11 game-winning goals and set a Flames franchise record on January 11, 1989, when he scored five goals in one game against the Winnipeg Jets. Nieuwendyk appeared in his second of three-consecutive All-Star Games. In the 1989 Stanley Cup playoffs, he scored 10 goals and four assists to help the Flames win their first- and only -Stanley Cup championship in franchise history. In the clinching game against the Montreal Canadiens, Nieuwendyk set up Lanny McDonald's final NHL goal with a quick pass after receiving the puck from Håkan Loob.
A 45-goal season in 1989–90 was enough for Nieuwendyk to lead the team in goal scoring for the third consecutive season. He missed he first 11 games of the 1991–92 NHL season after suffering a knee injury during a summer evaluation camp for the 1991 Canada Cup. Nieuwendyk began the season as the 12th captain in the Flames franchise history. He was limited to 22 goals and 56 points on the season, but scored his 200th career goal on December 3, 1991, against the Detroit Red Wings. His 230th career goal, scored against the Tampa Bay Lightning on November 13, 1992, established a Flames franchise record for career goals (since broken).
Nieuwendyk entered the 1995–96 season unhappy with his contract status. Unable to come to terms with the Flames, he had gone to arbitration, and was awarded a contract worth C$1.85 million, but insisted on renegotiating the deal into a long-term contract extension. He refused an offer of a three-year, $6 million contract from the Flames, and as the dispute dragged on, chose not to join the team when the season began. He remained a holdout until December 19, 1995, when the Flames traded him to the Dallas Stars in exchange for Jarome Iginla and Corey Millen.
Dallas Stars
The Stars immediately signed Nieuwendyk to a new deal worth US$11.3 million over five years. Bob Gainey, the team's general manager, hoped that the acquisition of Nieuwendyk would help the franchise, which had relocated from Minnesota three years previous, establish its place in Dallas. Nieuwendyk scored 14 goals and 32 points in 52 games with the Stars to finish the 1995–96 season.
Nieuwendyk improved to 30 goals in 1996–97 despite missing the first month of the season with fractured rib cartilage. A 39-goal season followed, but he was again sidelined by injury after appearing in only one game of the 1998 Stanley Cup playoffs. In the opening game of the Stars' first-round series against the San Jose Sharks, he suffered a torn ACL as a result of a check by Bryan Marchment. The injury required two knee surgeries to repair and six months to heal, which caused him to miss the beginning of the 1998–99 NHL season.
He finished the regular season with 28 goals and 55 points in 67 games, and added 11 goals and 10 assists in the 1999 Stanley Cup playoffs to help the Stars win the first Stanley Cup in their franchise history. Six of his playoff goals were game winners, and he was voted the winner of the Conn Smythe Trophy as most valuable player of the playoffs. Injuries again limited Nieuwendyk in 1999–2000. He missed ten games due to a bruised chest then suffered a separated shoulder a week after his return that kept him out of the lineup for several weeks. He played only 47 regular season games, but added 23 more in the playoffs as the Stars reached the 2000 Stanley Cup Finals. They lost the series in six games to the New Jersey Devils, however.
Nieuwendyk played in his 1,000th career game on January 20, 2002, against the Chicago Blackhawks. Two months later, on March 19, 2002, he was traded to the Devils, along with Jamie Langenbrunner, in exchange for Jason Arnott, Randy McKay and a first round selection in the 2002 NHL Entry Draft.
New Jersey, Toronto and Florida
New Jersey, who had won the Stanley Cup in 2000 and reached the finals the following year, acquired Nieuwendyk for their playoff run in 2002. He scored 11 points in 14 regular season games for the Devils following the trade, but New Jersey was eliminated in the first round of the 2002 Stanley Cup playoffs by the Carolina Hurricanes. Nieuwendyk reached two offensive milestones in 2002–03. He scored his 500th career goal on January 17, 2003, against Carolina's Kevin Weekes. On February 23, he scored his 1,000th point in a win over the Pittsburgh Penguins. He and the Devils reached the 2003 Stanley Cup Finals, but Nieuwendyk suffered a hip injury in the sixth game of the Eastern Conference Final that prevented him from appearing in the championship series. The Devils defeated the Mighty Ducks of Anaheim in the final, capturing the franchise's third Stanley Cup. For Nieuwendyk, it was his third title with his third different team.
The Toronto Maple Leafs signed Nieuwendyk to a one-year contract for the 2003–04 season. He scored 22 goals for Toronto in a season marred by abdominal and back injuries that limited him to 64 games played. After scoring two goals in the decisive Game 7 opening round series victory against the Ottawa Senators, a groin injury that forced him out of the lineup for much of Toronto's second-round series loss to the Philadelphia Flyers. He signed another one-year deal for 2004–05, but the season was cancelled due to a labour dispute that was feared would mark the end of the 38-year-old Nieuwendyk's career.
When NHL play resumed in 2005–06, the Florida Panthers sought to bolster their lineup with veteran players. They signed both Nieuwendyk and Roberts, who had played together in Calgary and Toronto and wanted to finish their careers together, to two-year, $4.5 million contracts. Nieuwendyk appeared in 65 games during the season, scoring 26 goals and 56 points. He appeared in 15 games in 2006–07 before chronic back pain forced him onto injured reserve. After missing 14 games, Nieuwendyk announced his retirement on December 7, 2006.
International play
As a member of the Canadian national junior team at the 1986 World Junior Ice Hockey Championships, Nieuwendyk scored five goals in seven games to help Canada win a silver medal. His 12 points in the tournament tied him for third in scoring for Team Canada and fourth overall in the tournament. One year later, Nieuwendyk joined the senior national team for the Calgary Cup, a four-team exhibition tournament that served as a preview event for the 1988 Winter Olympics. He scored a goal in each of the first two games, losses to the United States and Czechoslovakia, for the Canadian team that won the bronze medal. He joined the senior team again for the 1990 Men's World Ice Hockey Championships, but appeared in only one game after suffering a knee injury. He was invited to Team Canada's summer camp for the 1991 Canada Cup tournament but suffered a knee injury that caused him to miss the entire tournament.
NHL players were first allowed to participate in the Olympic ice hockey tournament in 1998. Nieuwendyk was among the players named to join Canada's "dream team". He scored two goals and three assists in six games, but was one of several Canadian players stopped by Czech goaltender Dominik Hašek in a shootout loss in the semifinals. Canada then dropped a 3–2 decision to Finland to finish fourth. Nieuwendyk played alongside Brendan Shanahan and Theoren Fleury on Canada's checking line at the 2002 Olympic tournament. He scored one goal and helped Canada win its first Olympic hockey gold medal in 50 years.
Playing style
Cliff Fletcher, who drafted him into the NHL, described Nieuwendyk as being a "pre-eminent two-way guy who had 50-goal seasons", adding that "he had a great stick around the net, he had a great shot, he saw the ice well, he could skate, he had the size – he had everything you needed to have. History has indicated that wherever he went, the team was competitive. The more that was on the line in big games, the better Joe played." He was an offensive centre in Calgary and power play specialist, able to withstand the physical punishment required to stand in front of the net and battle defencemen for the puck. He led the NHL in power play goals in 1987–88 with 31 and finished in the top ten on four other occasions. Wayne Gretzky, who also played box lacrosse in his youth, argued that the skills Nieuwendyk learned dodging opposing players in that sport aided his development as a hockey player. Nieuwendyk was regarded as a top faceoff man, a skill that Team Canada relied on during the Olympics. He was a checking-line centre at the 2002 Olympics, relied on for his defensive and faceoff abilities.
Nieuwendyk was regarded as a leader throughout his career. He was the captain of the Flames for four seasons, and his teammates in Dallas praised him as a player who would help guide the younger players as they began their careers. His presence was considered an important factor in New Jersey's 2003 Stanley Cup championship. Devils' general manager Lou Lamoriello praised his impact both on and off the ice: "Certainly (the tangibles were) the quality player he was even at that time, how good he was defensively as well as always finding a way to get big goals. It was also about how good he was on faceoffs. And the intangibles, which are really more tangible than anything, are what he brought in the locker room from leadership and unselfishness. It was obvious that when he didn't play he was still so active in his support. He's genuine in every sense of the word. He was a true team player." Nieuwendyk was inducted into the Hockey Hall of Fame in 2011, and his uniform number 25 was honoured by the Calgary Flames on March 7, 2014, as he was named to the organization's "Forever a Flame" program.
Management career
Remaining in hockey following the end of his playing career, Nieuwendyk joined the Florida Panthers' front office as a consultant to general manager Jacques Martin in 2007. He left the Panthers after one year to join the Maple Leafs as special assistant to general manager Cliff Fletcher in 2008. He served as assistant general manager for the silver-medal winning Canadian national team at the 2009 World Championships, and on June 1, 2009, was named general manager of the Dallas Stars. His ability to make moves was at times limited by the financial difficulty of team owner Tom Hicks. Among Nieuwendyk's decisions in his first two seasons as general manager was to allow popular former captain Mike Modano to leave the organization after 22 years with the franchise in 2010. Nieuwendyk stated such moves were difficult, as he played with Modano and considered him a friend. Nieuwendyk was released as Stars' general manager at the conclusion of the 2012–13 NHL season as team owner Tom Gaglardi stated that the team wanted to "take this organization in a different direction". On September 3, 2014, the Carolina Hurricanes announced they had hired him as a pro scout and advisor. He resigned from his position with Carolina on April 30, 2018.
Personal life
Nieuwendyk and his wife Tina have three children: daughters Tyra and Kaycee and son Jackson. In 1995, while a member of the Flames, Nieuwendyk won the King Clancy Memorial Trophy given annually to the player "who best exemplifies leadership qualities on and off the ice and who has made a significant humanitarian contribution to his community". He was honoured by the league for his contributions to the Society for the Prevention of Cruelty to Animals (SPCA), and was a spokesman and honorary chairman of the Foothills Hospital Foundation. He remained active with the SPCA after his trade to Dallas, and following the September 11 attacks, organized a charity softball game that raised $115,000 for charitable groups in the aftermath of the attack. While a member of the Maple Leafs during the lockout, he participated in a charity hockey game organized by cancer survivor and former NHL player Keith Acton that raised $30,000 for cancer and leukemia charities in southern Ontario.
Career statistics
Regular season and playoffs
International
Awards and honours
References
External links
1966 births
Living people
Calder Trophy winners
Calgary Flames captains
Calgary Flames draft picks
Calgary Flames players
Canadian ice hockey centres
Canadian lacrosse players
Canadian people of Dutch descent
Carolina Hurricanes scouts
Conn Smythe Trophy winners
Cornell Big Red men's ice hockey players
Dallas Stars executives
Dallas Stars players
Florida Panthers executives
Florida Panthers players
Hockey Hall of Fame inductees
Sportspeople from Oshawa
Sportspeople from Whitby, Ontario
Ice hockey players at the 1998 Winter Olympics
Ice hockey players at the 2002 Winter Olympics
King Clancy Memorial Trophy winners
Medalists at the 2002 Winter Olympics
National Hockey League All-Stars
New Jersey Devils players
Olympic gold medalists for Canada
Olympic ice hockey players of Canada
Olympic medalists in ice hockey
Stanley Cup champions
Toronto Maple Leafs players
Ice hockey people from Ontario
AHCA Division I men's ice hockey All-Americans | false | [
"Abbas Mohammadi (, born August 23, 1975) is a retired Iranian football goalkeeper who mostly played at Iran's Premier Football League.\n\nClub career\nAbbas Mohammadi played for Mes Kerman F.C. before moving to Sepahan F.C. in 2007. With Sepahan he was able to play in the AFC Champions League and his ability and effort was the reason Sepahan made it to Final match before losing to Urawa Red Diamonds. Mohammadi was also able to play in the 2007 FIFA Club World Cup with Sepahan and was again one of their top players.\n\nClub career statistics\n\nInternational career\nHe made his debut for Iran in a friendly match against Costa Rica on January 30, 2008.\n\nReferences\n\nIranian footballers\nAssociation football goalkeepers\nSepahan S.C. footballers\nTractor S.C. players\n1975 births\nBargh Shiraz players\nLiving people\nSanat Mes Kerman F.C. players\nPersian Gulf Pro League players\nAzadegan League players",
"Luo Xihe (; born November 23, 1977) is a Chinese professional Go player.\n\nBiography \nLuo Xihe started learning Go at the age of six. He turned pro in 1989, and was promoted to 9 dan in 2002. At a very young age, the Chinese Weiqi Association was able to perform an IQ test on many of its young professionals during the late '80s to early '90s, and Luo was able to score higher than all of his compatriots, which included the likes of Chang Hao, Zhou Heyang, Shao Weigang and Wang Lei. Although Luo's gift was recognized, domestically and internationally he was not able to perform very well and did not gain any significant titles. His biggest breakthrough came in the 7th Samsung Cup where he reached the quarterfinals, and facing eventual champion Cho Hunhyun, was able to play a famous game later known as the comeback game for Cho Dubbed Capturing and releasing Cho (a reference to the historical capture of Cao Cao during the Huarong Trail). After that game, Luo was not able to come close to playing in another major tournament again, only settling for playing in the qualifying competitions.\n\nHis biggest breakthrough came in the 10th Samsung Cup, where he was able to play through a series of qualifying rounds to reach the round of 32 of the main tournament. In this tournament, he faced Cho Han-seung, Song Tae-kon in the first 2 rounds, before playing defending champion Lee Sedol in the quarterfinals. Luo considered his first round match with Cho as his hardest, whilst against Song, he was able to play a cunning trap that lured Song into a false sense of security. Prior to the start of the quarter-finals, all the Japanese Go players had been defeated, and only 2 Chinese players, including Luo, remained. The other was Hu Yaoyu, whilst 5 of the top Korean players, Lee Chang-ho, Choi Cheol-han, Lee Sedol, Yoo Chang-hyuk and Cho Hunhyun remained. Against a surging Lee Sedol, who had won 29 games with 2 losses across all international tournaments, Luo was able to gain the upper hand in the opening of the match, and due to many decisive errors by Lee, Luo was able to slowly outplay Lee throughout the entire board, culminating in Lee resigning due to having insufficient territory after playing a very bad ko fight in the top left corner. Experts showed the final variations as Lee losing 1 of 2 very large territories on the board.\nAfter this match, Luo was able to reach the semi-finals of an international tournament for the first time in his career. At the same time, Hu was able to progress, whilst Cho was defeated by Choi.\n\nTitles & runners-up\n\nReferences\n\nExternal links \n Commented game of Luo Xihe\n\n1977 births\nChinese Go players\nLiving people\nSportspeople from Hunan\nPeople from Hengyang"
]
|
[
"Joe Nieuwendyk",
"New Jersey, Toronto and Florida",
"What happned in New Jersey, Toronto, and Florida?",
"New Jersey, who had won the Stanley Cup in 2000 and reached the finals the following year, acquired Nieuwendyk for their playoff run in 2002.",
"Did he ever participate in the playoff run?",
"New Jersey, who had won the Stanley Cup in 2000 and reached the finals the following year, acquired Nieuwendyk for their playoff run in 2002.",
"Are there any other interesting aspects about this article?",
"Nieuwendyk reached two offensive milestones in 2002-03. He scored his 500th career goal on January 17, 2003, against Carolina's Kevin Weekes.",
"What ohter milestones did he reach?",
"He and the Devils reached the 2003 Stanley Cup Finals, but Nieuwendyk suffered a hip injury in the sixth game of the Eastern Conference",
"How bad was his injury?",
"I don't know.",
"Was he ever able to play again?",
"The Toronto Maple Leafs signed Nieuwendyk to a one-year contract for the 2003-04 season."
]
| C_96cf32367ed04f83b57408823d4d1cfd_0 | Did he get hurt again? | 7 | Did Joe Nieuwendyk get hurt again? | Joe Nieuwendyk | New Jersey, who had won the Stanley Cup in 2000 and reached the finals the following year, acquired Nieuwendyk for their playoff run in 2002. He scored 11 points in 14 regular season games for the Devils following the trade, but New Jersey was eliminated in the first round of the 2002 Stanley Cup playoffs by the Carolina Hurricanes. Nieuwendyk reached two offensive milestones in 2002-03. He scored his 500th career goal on January 17, 2003, against Carolina's Kevin Weekes. On February 23, he scored his 1,000th point in a win over the Pittsburgh Penguins. He and the Devils reached the 2003 Stanley Cup Finals, but Nieuwendyk suffered a hip injury in the sixth game of the Eastern Conference Final that prevented him from appearing in the championship series. The Devils defeated the Mighty Ducks of Anaheim in the final, capturing the franchise's third Stanley Cup. For Nieuwendyk, it was his third title with his third different team. The Toronto Maple Leafs signed Nieuwendyk to a one-year contract for the 2003-04 season. He scored 22 goals for Toronto in a season marred by abdominal and back injuries that limited him to 64 games played, and a groin injury that forced him out of the lineup for much of Toronto's second-round series loss to the Philadelphia Flyers. He signed another one-year deal for 2004-05, but the season was cancelled due to a labour dispute that was feared would mark the end of the 38-year-old Nieuwendyk's career. When NHL play resumed in 2005-06, the Florida Panthers sought to bolster their lineup with veteran players. They signed both Nieuwendyk and Roberts, who had played together in Calgary and Toronto and wanted to finish their careers together, to two-year, $4.5 million contracts. Nieuwendyk appeared in 65 games during the season, scoring 26 goals and 56 points. He appeared in 15 games in 2006-07 before chronic back pain forced him onto injured reserve. After missing 14 games, Nieuwendyk announced his retirement on December 7, 2006. CANNOTANSWER | He scored 22 goals for Toronto in a season marred by abdominal and back injuries that limited him to 64 games played, and a groin injury | Joseph Nieuwendyk ( ; born September 10, 1966) is a Canadian former National Hockey League (NHL) player. He was a second round selection of the Calgary Flames, 27th overall, at the 1985 NHL Entry Draft and played 20 seasons for the Flames, Dallas Stars, New Jersey Devils, Toronto Maple Leafs, and Florida Panthers. He is one of only 11 players in NHL history to win the Stanley Cup with three or more different teams, winning titles with Calgary in 1989, Dallas in 1999 and New Jersey in 2003. A two-time Olympian, Nieuwendyk won a gold medal with Team Canada at the 2002 winter games. He was inducted into the Hockey Hall of Fame in 2011 and his uniform number 25 was honoured by the Flames in 2014. Joe Nieuwendyk was inducted into the Ontario Sports Hall of Fame in 2014. In 2017 Nieuwendyk was named one of the '100 Greatest NHL Players' in history.
An accomplished box lacrosse player, Nieuwendyk led the Whitby Warriors to the 1984 Minto Cup national junior championship before focusing exclusively on hockey. He played university hockey with the Cornell Big Red where he was a two-time All-American. He won the Calder Memorial Trophy as NHL rookie of the year in 1988 after becoming only the second first-year player to score 50 goals. He was a four-time All-Star, won the King Clancy Memorial Trophy in 1995 for his leadership and humanitarian work, and was named the Conn Smythe Trophy winner in 1999 as most valuable player of the postseason. Nieuwendyk played 1,257 games in his career, scoring 564 goals and 1,126 points.
Chronic back pain forced Nieuwendyk's retirement as a player in 2006. He then began a new career in management, acting first as a consultant to the general manager with the Panthers before moving onto the Maple Leafs where he was an assistant to the general manager. Nieuwendyk was the general manager of the Dallas Stars between 2009 and 2013. He most recently worked as a pro scout and advisor for the Carolina Hurricanes, until resigning his contract April 30, 2018.
Early life
Nieuwendyk was born September 10, 1966 in Oshawa, Ontario, and grew up in Whitby. He is the youngest of four children to Gordon and Joanne Nieuwendyk, who immigrated to Canada from the Netherlands in 1958. Gordon owned a car repair shop in Whitby. Joe grew up in a sporting family. His brother Gil was a box lacrosse player, while his uncle Ed Kea and cousin Jeff Beukeboom also played in the National Hockey League (NHL). His best friend growing up was future NHL teammate Gary Roberts.
He played both hockey and lacrosse growing up and the latter considered his better sport. At one point, Nieuwendyk was considered the top junior lacrosse player in Canada. He earned a spot with the Whitby Warriors junior A team at the age of 15, and was named the most valuable player of the Minto Cup tournament in 1984 when he led the Warriors to the national championship. The Ontario Lacrosse Association later named its junior A rookie of the year award after Nieuwendyk.
Playing career
College
Nieuwendyk went undrafted by any Ontario Hockey League team, and so played a season of junior B for the Pickering Panthers in 1983–84. Eligible for the 1984 NHL Entry Draft but unselected, he chose to attend Cornell University where he played hockey and lacrosse for the Big Red. He was named the Eastern College Athletic Conference (ECAC) hockey rookie of the year in 1984–85 after scoring 39 points in 23 games. At the 1985 NHL Entry Draft, the Calgary Flames selected him in the second round, 27th overall, with a pick obtained that day in a trade with the Minnesota North Stars for Kent Nilsson. The disappointment in Calgary over the trade of Nilsson resulted in some criticism of Nieuwendyk's selection, famously leading to a local newspaper to question the moves with the headline "Joe Who?"
Returning to Cornell for the 1985–86 season, Nieuwendyk chose to give up lacrosse in order to focus on hockey. He was named an ECAC first team All-Star in 1985–86 and an NCAA All-American after scoring 42 points in 21 games. In his final season at Cornell, he was named the team's most valuable player and led the ECAC in scoring with 52 points. He was again named an ECAC All-Star and NCAA All-American, and a finalist for the 1987 Hobey Baker Award.
Nieuwendyk chose to forgo his senior year in favour of turning professional. In 81 games with Cornell, Nieuwendyk scored 73 goals and 151 points, both among the highest totals in the school's history. His number 25 jersey was retired by Cornell in 2010, shared with Ken Dryden's number 1 as the first such numbers retired by the hockey team, and believed the first in any sport in the school's varsity sports history. In 2011, he was named one of the 50 greatest players in ECAC history.
Calgary Flames
Once his junior season at Cornell ended, Nieuwendyk joined the national team for five games before turning professional with the Flames. He made his NHL debut on March 10, 1987, against the Washington Capitals and scored his first NHL goal against goaltender Pete Peeters. He appeared in nine regular season games in the 1986–87 NHL season, scoring five goals and one assist, and appeared in six playoff games. Playing his first full season in 1987–88, Nieuwendyk captured the attention of the sports media by scoring 32 goals in his first 42 games to put him on a pace to surpass Mike Bossy's rookie record of 53 goals. Nieuwendyk finished two goals short of Bossy's record, but led the team with 51 goals and was the second first-year player to score at least 50 goals in one season. He played in his first NHL All-Star Game, was named to the All-Rookie Team and was voted the winner of the Calder Memorial Trophy as the NHL's top rookie.
Nieuwendyk again scored 51 goals in 1988–89 and marked the 100th of his career in his 144th career game. At the time, he was the third fastest player to reach the milestone, behind Bossy (129 games) and Maurice Richard (134 games), and was the third player in league history to score 50 goals in each of his first two seasons (Bossy and Wayne Gretzky). He led the league with 11 game-winning goals and set a Flames franchise record on January 11, 1989, when he scored five goals in one game against the Winnipeg Jets. Nieuwendyk appeared in his second of three-consecutive All-Star Games. In the 1989 Stanley Cup playoffs, he scored 10 goals and four assists to help the Flames win their first- and only -Stanley Cup championship in franchise history. In the clinching game against the Montreal Canadiens, Nieuwendyk set up Lanny McDonald's final NHL goal with a quick pass after receiving the puck from Håkan Loob.
A 45-goal season in 1989–90 was enough for Nieuwendyk to lead the team in goal scoring for the third consecutive season. He missed he first 11 games of the 1991–92 NHL season after suffering a knee injury during a summer evaluation camp for the 1991 Canada Cup. Nieuwendyk began the season as the 12th captain in the Flames franchise history. He was limited to 22 goals and 56 points on the season, but scored his 200th career goal on December 3, 1991, against the Detroit Red Wings. His 230th career goal, scored against the Tampa Bay Lightning on November 13, 1992, established a Flames franchise record for career goals (since broken).
Nieuwendyk entered the 1995–96 season unhappy with his contract status. Unable to come to terms with the Flames, he had gone to arbitration, and was awarded a contract worth C$1.85 million, but insisted on renegotiating the deal into a long-term contract extension. He refused an offer of a three-year, $6 million contract from the Flames, and as the dispute dragged on, chose not to join the team when the season began. He remained a holdout until December 19, 1995, when the Flames traded him to the Dallas Stars in exchange for Jarome Iginla and Corey Millen.
Dallas Stars
The Stars immediately signed Nieuwendyk to a new deal worth US$11.3 million over five years. Bob Gainey, the team's general manager, hoped that the acquisition of Nieuwendyk would help the franchise, which had relocated from Minnesota three years previous, establish its place in Dallas. Nieuwendyk scored 14 goals and 32 points in 52 games with the Stars to finish the 1995–96 season.
Nieuwendyk improved to 30 goals in 1996–97 despite missing the first month of the season with fractured rib cartilage. A 39-goal season followed, but he was again sidelined by injury after appearing in only one game of the 1998 Stanley Cup playoffs. In the opening game of the Stars' first-round series against the San Jose Sharks, he suffered a torn ACL as a result of a check by Bryan Marchment. The injury required two knee surgeries to repair and six months to heal, which caused him to miss the beginning of the 1998–99 NHL season.
He finished the regular season with 28 goals and 55 points in 67 games, and added 11 goals and 10 assists in the 1999 Stanley Cup playoffs to help the Stars win the first Stanley Cup in their franchise history. Six of his playoff goals were game winners, and he was voted the winner of the Conn Smythe Trophy as most valuable player of the playoffs. Injuries again limited Nieuwendyk in 1999–2000. He missed ten games due to a bruised chest then suffered a separated shoulder a week after his return that kept him out of the lineup for several weeks. He played only 47 regular season games, but added 23 more in the playoffs as the Stars reached the 2000 Stanley Cup Finals. They lost the series in six games to the New Jersey Devils, however.
Nieuwendyk played in his 1,000th career game on January 20, 2002, against the Chicago Blackhawks. Two months later, on March 19, 2002, he was traded to the Devils, along with Jamie Langenbrunner, in exchange for Jason Arnott, Randy McKay and a first round selection in the 2002 NHL Entry Draft.
New Jersey, Toronto and Florida
New Jersey, who had won the Stanley Cup in 2000 and reached the finals the following year, acquired Nieuwendyk for their playoff run in 2002. He scored 11 points in 14 regular season games for the Devils following the trade, but New Jersey was eliminated in the first round of the 2002 Stanley Cup playoffs by the Carolina Hurricanes. Nieuwendyk reached two offensive milestones in 2002–03. He scored his 500th career goal on January 17, 2003, against Carolina's Kevin Weekes. On February 23, he scored his 1,000th point in a win over the Pittsburgh Penguins. He and the Devils reached the 2003 Stanley Cup Finals, but Nieuwendyk suffered a hip injury in the sixth game of the Eastern Conference Final that prevented him from appearing in the championship series. The Devils defeated the Mighty Ducks of Anaheim in the final, capturing the franchise's third Stanley Cup. For Nieuwendyk, it was his third title with his third different team.
The Toronto Maple Leafs signed Nieuwendyk to a one-year contract for the 2003–04 season. He scored 22 goals for Toronto in a season marred by abdominal and back injuries that limited him to 64 games played. After scoring two goals in the decisive Game 7 opening round series victory against the Ottawa Senators, a groin injury that forced him out of the lineup for much of Toronto's second-round series loss to the Philadelphia Flyers. He signed another one-year deal for 2004–05, but the season was cancelled due to a labour dispute that was feared would mark the end of the 38-year-old Nieuwendyk's career.
When NHL play resumed in 2005–06, the Florida Panthers sought to bolster their lineup with veteran players. They signed both Nieuwendyk and Roberts, who had played together in Calgary and Toronto and wanted to finish their careers together, to two-year, $4.5 million contracts. Nieuwendyk appeared in 65 games during the season, scoring 26 goals and 56 points. He appeared in 15 games in 2006–07 before chronic back pain forced him onto injured reserve. After missing 14 games, Nieuwendyk announced his retirement on December 7, 2006.
International play
As a member of the Canadian national junior team at the 1986 World Junior Ice Hockey Championships, Nieuwendyk scored five goals in seven games to help Canada win a silver medal. His 12 points in the tournament tied him for third in scoring for Team Canada and fourth overall in the tournament. One year later, Nieuwendyk joined the senior national team for the Calgary Cup, a four-team exhibition tournament that served as a preview event for the 1988 Winter Olympics. He scored a goal in each of the first two games, losses to the United States and Czechoslovakia, for the Canadian team that won the bronze medal. He joined the senior team again for the 1990 Men's World Ice Hockey Championships, but appeared in only one game after suffering a knee injury. He was invited to Team Canada's summer camp for the 1991 Canada Cup tournament but suffered a knee injury that caused him to miss the entire tournament.
NHL players were first allowed to participate in the Olympic ice hockey tournament in 1998. Nieuwendyk was among the players named to join Canada's "dream team". He scored two goals and three assists in six games, but was one of several Canadian players stopped by Czech goaltender Dominik Hašek in a shootout loss in the semifinals. Canada then dropped a 3–2 decision to Finland to finish fourth. Nieuwendyk played alongside Brendan Shanahan and Theoren Fleury on Canada's checking line at the 2002 Olympic tournament. He scored one goal and helped Canada win its first Olympic hockey gold medal in 50 years.
Playing style
Cliff Fletcher, who drafted him into the NHL, described Nieuwendyk as being a "pre-eminent two-way guy who had 50-goal seasons", adding that "he had a great stick around the net, he had a great shot, he saw the ice well, he could skate, he had the size – he had everything you needed to have. History has indicated that wherever he went, the team was competitive. The more that was on the line in big games, the better Joe played." He was an offensive centre in Calgary and power play specialist, able to withstand the physical punishment required to stand in front of the net and battle defencemen for the puck. He led the NHL in power play goals in 1987–88 with 31 and finished in the top ten on four other occasions. Wayne Gretzky, who also played box lacrosse in his youth, argued that the skills Nieuwendyk learned dodging opposing players in that sport aided his development as a hockey player. Nieuwendyk was regarded as a top faceoff man, a skill that Team Canada relied on during the Olympics. He was a checking-line centre at the 2002 Olympics, relied on for his defensive and faceoff abilities.
Nieuwendyk was regarded as a leader throughout his career. He was the captain of the Flames for four seasons, and his teammates in Dallas praised him as a player who would help guide the younger players as they began their careers. His presence was considered an important factor in New Jersey's 2003 Stanley Cup championship. Devils' general manager Lou Lamoriello praised his impact both on and off the ice: "Certainly (the tangibles were) the quality player he was even at that time, how good he was defensively as well as always finding a way to get big goals. It was also about how good he was on faceoffs. And the intangibles, which are really more tangible than anything, are what he brought in the locker room from leadership and unselfishness. It was obvious that when he didn't play he was still so active in his support. He's genuine in every sense of the word. He was a true team player." Nieuwendyk was inducted into the Hockey Hall of Fame in 2011, and his uniform number 25 was honoured by the Calgary Flames on March 7, 2014, as he was named to the organization's "Forever a Flame" program.
Management career
Remaining in hockey following the end of his playing career, Nieuwendyk joined the Florida Panthers' front office as a consultant to general manager Jacques Martin in 2007. He left the Panthers after one year to join the Maple Leafs as special assistant to general manager Cliff Fletcher in 2008. He served as assistant general manager for the silver-medal winning Canadian national team at the 2009 World Championships, and on June 1, 2009, was named general manager of the Dallas Stars. His ability to make moves was at times limited by the financial difficulty of team owner Tom Hicks. Among Nieuwendyk's decisions in his first two seasons as general manager was to allow popular former captain Mike Modano to leave the organization after 22 years with the franchise in 2010. Nieuwendyk stated such moves were difficult, as he played with Modano and considered him a friend. Nieuwendyk was released as Stars' general manager at the conclusion of the 2012–13 NHL season as team owner Tom Gaglardi stated that the team wanted to "take this organization in a different direction". On September 3, 2014, the Carolina Hurricanes announced they had hired him as a pro scout and advisor. He resigned from his position with Carolina on April 30, 2018.
Personal life
Nieuwendyk and his wife Tina have three children: daughters Tyra and Kaycee and son Jackson. In 1995, while a member of the Flames, Nieuwendyk won the King Clancy Memorial Trophy given annually to the player "who best exemplifies leadership qualities on and off the ice and who has made a significant humanitarian contribution to his community". He was honoured by the league for his contributions to the Society for the Prevention of Cruelty to Animals (SPCA), and was a spokesman and honorary chairman of the Foothills Hospital Foundation. He remained active with the SPCA after his trade to Dallas, and following the September 11 attacks, organized a charity softball game that raised $115,000 for charitable groups in the aftermath of the attack. While a member of the Maple Leafs during the lockout, he participated in a charity hockey game organized by cancer survivor and former NHL player Keith Acton that raised $30,000 for cancer and leukemia charities in southern Ontario.
Career statistics
Regular season and playoffs
International
Awards and honours
References
External links
1966 births
Living people
Calder Trophy winners
Calgary Flames captains
Calgary Flames draft picks
Calgary Flames players
Canadian ice hockey centres
Canadian lacrosse players
Canadian people of Dutch descent
Carolina Hurricanes scouts
Conn Smythe Trophy winners
Cornell Big Red men's ice hockey players
Dallas Stars executives
Dallas Stars players
Florida Panthers executives
Florida Panthers players
Hockey Hall of Fame inductees
Sportspeople from Oshawa
Sportspeople from Whitby, Ontario
Ice hockey players at the 1998 Winter Olympics
Ice hockey players at the 2002 Winter Olympics
King Clancy Memorial Trophy winners
Medalists at the 2002 Winter Olympics
National Hockey League All-Stars
New Jersey Devils players
Olympic gold medalists for Canada
Olympic ice hockey players of Canada
Olympic medalists in ice hockey
Stanley Cup champions
Toronto Maple Leafs players
Ice hockey people from Ontario
AHCA Division I men's ice hockey All-Americans | false | [
"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)",
"Nobody Move, Nobody Get Hurt may refer to:\n\nNobody Move, a 1983 album by Yellowman, released in a slightly altered form outside Jamaica in 1984 as Nobody Move Nobody Get Hurt and its corresponding title track\n\"Nobody Move\", a song by Eazy-E from 1988's Eazy-Duz-It which samples the Yellowman track\n\"Nobody Move, Nobody Get Hurt\", a song by We Are Scientists from their 2006 album With Love and Squalor"
]
|
[
"Joe Nieuwendyk",
"New Jersey, Toronto and Florida",
"What happned in New Jersey, Toronto, and Florida?",
"New Jersey, who had won the Stanley Cup in 2000 and reached the finals the following year, acquired Nieuwendyk for their playoff run in 2002.",
"Did he ever participate in the playoff run?",
"New Jersey, who had won the Stanley Cup in 2000 and reached the finals the following year, acquired Nieuwendyk for their playoff run in 2002.",
"Are there any other interesting aspects about this article?",
"Nieuwendyk reached two offensive milestones in 2002-03. He scored his 500th career goal on January 17, 2003, against Carolina's Kevin Weekes.",
"What ohter milestones did he reach?",
"He and the Devils reached the 2003 Stanley Cup Finals, but Nieuwendyk suffered a hip injury in the sixth game of the Eastern Conference",
"How bad was his injury?",
"I don't know.",
"Was he ever able to play again?",
"The Toronto Maple Leafs signed Nieuwendyk to a one-year contract for the 2003-04 season.",
"Did he get hurt again?",
"He scored 22 goals for Toronto in a season marred by abdominal and back injuries that limited him to 64 games played, and a groin injury"
]
| C_96cf32367ed04f83b57408823d4d1cfd_0 | Did he ever stop playing to try and heal? | 8 | Did Joe Nieuwendyk ever stop playing to try and heal? | Joe Nieuwendyk | New Jersey, who had won the Stanley Cup in 2000 and reached the finals the following year, acquired Nieuwendyk for their playoff run in 2002. He scored 11 points in 14 regular season games for the Devils following the trade, but New Jersey was eliminated in the first round of the 2002 Stanley Cup playoffs by the Carolina Hurricanes. Nieuwendyk reached two offensive milestones in 2002-03. He scored his 500th career goal on January 17, 2003, against Carolina's Kevin Weekes. On February 23, he scored his 1,000th point in a win over the Pittsburgh Penguins. He and the Devils reached the 2003 Stanley Cup Finals, but Nieuwendyk suffered a hip injury in the sixth game of the Eastern Conference Final that prevented him from appearing in the championship series. The Devils defeated the Mighty Ducks of Anaheim in the final, capturing the franchise's third Stanley Cup. For Nieuwendyk, it was his third title with his third different team. The Toronto Maple Leafs signed Nieuwendyk to a one-year contract for the 2003-04 season. He scored 22 goals for Toronto in a season marred by abdominal and back injuries that limited him to 64 games played, and a groin injury that forced him out of the lineup for much of Toronto's second-round series loss to the Philadelphia Flyers. He signed another one-year deal for 2004-05, but the season was cancelled due to a labour dispute that was feared would mark the end of the 38-year-old Nieuwendyk's career. When NHL play resumed in 2005-06, the Florida Panthers sought to bolster their lineup with veteran players. They signed both Nieuwendyk and Roberts, who had played together in Calgary and Toronto and wanted to finish their careers together, to two-year, $4.5 million contracts. Nieuwendyk appeared in 65 games during the season, scoring 26 goals and 56 points. He appeared in 15 games in 2006-07 before chronic back pain forced him onto injured reserve. After missing 14 games, Nieuwendyk announced his retirement on December 7, 2006. CANNOTANSWER | forced him out of the lineup for much of Toronto's second-round series loss to the Philadelphia Flyers. | Joseph Nieuwendyk ( ; born September 10, 1966) is a Canadian former National Hockey League (NHL) player. He was a second round selection of the Calgary Flames, 27th overall, at the 1985 NHL Entry Draft and played 20 seasons for the Flames, Dallas Stars, New Jersey Devils, Toronto Maple Leafs, and Florida Panthers. He is one of only 11 players in NHL history to win the Stanley Cup with three or more different teams, winning titles with Calgary in 1989, Dallas in 1999 and New Jersey in 2003. A two-time Olympian, Nieuwendyk won a gold medal with Team Canada at the 2002 winter games. He was inducted into the Hockey Hall of Fame in 2011 and his uniform number 25 was honoured by the Flames in 2014. Joe Nieuwendyk was inducted into the Ontario Sports Hall of Fame in 2014. In 2017 Nieuwendyk was named one of the '100 Greatest NHL Players' in history.
An accomplished box lacrosse player, Nieuwendyk led the Whitby Warriors to the 1984 Minto Cup national junior championship before focusing exclusively on hockey. He played university hockey with the Cornell Big Red where he was a two-time All-American. He won the Calder Memorial Trophy as NHL rookie of the year in 1988 after becoming only the second first-year player to score 50 goals. He was a four-time All-Star, won the King Clancy Memorial Trophy in 1995 for his leadership and humanitarian work, and was named the Conn Smythe Trophy winner in 1999 as most valuable player of the postseason. Nieuwendyk played 1,257 games in his career, scoring 564 goals and 1,126 points.
Chronic back pain forced Nieuwendyk's retirement as a player in 2006. He then began a new career in management, acting first as a consultant to the general manager with the Panthers before moving onto the Maple Leafs where he was an assistant to the general manager. Nieuwendyk was the general manager of the Dallas Stars between 2009 and 2013. He most recently worked as a pro scout and advisor for the Carolina Hurricanes, until resigning his contract April 30, 2018.
Early life
Nieuwendyk was born September 10, 1966 in Oshawa, Ontario, and grew up in Whitby. He is the youngest of four children to Gordon and Joanne Nieuwendyk, who immigrated to Canada from the Netherlands in 1958. Gordon owned a car repair shop in Whitby. Joe grew up in a sporting family. His brother Gil was a box lacrosse player, while his uncle Ed Kea and cousin Jeff Beukeboom also played in the National Hockey League (NHL). His best friend growing up was future NHL teammate Gary Roberts.
He played both hockey and lacrosse growing up and the latter considered his better sport. At one point, Nieuwendyk was considered the top junior lacrosse player in Canada. He earned a spot with the Whitby Warriors junior A team at the age of 15, and was named the most valuable player of the Minto Cup tournament in 1984 when he led the Warriors to the national championship. The Ontario Lacrosse Association later named its junior A rookie of the year award after Nieuwendyk.
Playing career
College
Nieuwendyk went undrafted by any Ontario Hockey League team, and so played a season of junior B for the Pickering Panthers in 1983–84. Eligible for the 1984 NHL Entry Draft but unselected, he chose to attend Cornell University where he played hockey and lacrosse for the Big Red. He was named the Eastern College Athletic Conference (ECAC) hockey rookie of the year in 1984–85 after scoring 39 points in 23 games. At the 1985 NHL Entry Draft, the Calgary Flames selected him in the second round, 27th overall, with a pick obtained that day in a trade with the Minnesota North Stars for Kent Nilsson. The disappointment in Calgary over the trade of Nilsson resulted in some criticism of Nieuwendyk's selection, famously leading to a local newspaper to question the moves with the headline "Joe Who?"
Returning to Cornell for the 1985–86 season, Nieuwendyk chose to give up lacrosse in order to focus on hockey. He was named an ECAC first team All-Star in 1985–86 and an NCAA All-American after scoring 42 points in 21 games. In his final season at Cornell, he was named the team's most valuable player and led the ECAC in scoring with 52 points. He was again named an ECAC All-Star and NCAA All-American, and a finalist for the 1987 Hobey Baker Award.
Nieuwendyk chose to forgo his senior year in favour of turning professional. In 81 games with Cornell, Nieuwendyk scored 73 goals and 151 points, both among the highest totals in the school's history. His number 25 jersey was retired by Cornell in 2010, shared with Ken Dryden's number 1 as the first such numbers retired by the hockey team, and believed the first in any sport in the school's varsity sports history. In 2011, he was named one of the 50 greatest players in ECAC history.
Calgary Flames
Once his junior season at Cornell ended, Nieuwendyk joined the national team for five games before turning professional with the Flames. He made his NHL debut on March 10, 1987, against the Washington Capitals and scored his first NHL goal against goaltender Pete Peeters. He appeared in nine regular season games in the 1986–87 NHL season, scoring five goals and one assist, and appeared in six playoff games. Playing his first full season in 1987–88, Nieuwendyk captured the attention of the sports media by scoring 32 goals in his first 42 games to put him on a pace to surpass Mike Bossy's rookie record of 53 goals. Nieuwendyk finished two goals short of Bossy's record, but led the team with 51 goals and was the second first-year player to score at least 50 goals in one season. He played in his first NHL All-Star Game, was named to the All-Rookie Team and was voted the winner of the Calder Memorial Trophy as the NHL's top rookie.
Nieuwendyk again scored 51 goals in 1988–89 and marked the 100th of his career in his 144th career game. At the time, he was the third fastest player to reach the milestone, behind Bossy (129 games) and Maurice Richard (134 games), and was the third player in league history to score 50 goals in each of his first two seasons (Bossy and Wayne Gretzky). He led the league with 11 game-winning goals and set a Flames franchise record on January 11, 1989, when he scored five goals in one game against the Winnipeg Jets. Nieuwendyk appeared in his second of three-consecutive All-Star Games. In the 1989 Stanley Cup playoffs, he scored 10 goals and four assists to help the Flames win their first- and only -Stanley Cup championship in franchise history. In the clinching game against the Montreal Canadiens, Nieuwendyk set up Lanny McDonald's final NHL goal with a quick pass after receiving the puck from Håkan Loob.
A 45-goal season in 1989–90 was enough for Nieuwendyk to lead the team in goal scoring for the third consecutive season. He missed he first 11 games of the 1991–92 NHL season after suffering a knee injury during a summer evaluation camp for the 1991 Canada Cup. Nieuwendyk began the season as the 12th captain in the Flames franchise history. He was limited to 22 goals and 56 points on the season, but scored his 200th career goal on December 3, 1991, against the Detroit Red Wings. His 230th career goal, scored against the Tampa Bay Lightning on November 13, 1992, established a Flames franchise record for career goals (since broken).
Nieuwendyk entered the 1995–96 season unhappy with his contract status. Unable to come to terms with the Flames, he had gone to arbitration, and was awarded a contract worth C$1.85 million, but insisted on renegotiating the deal into a long-term contract extension. He refused an offer of a three-year, $6 million contract from the Flames, and as the dispute dragged on, chose not to join the team when the season began. He remained a holdout until December 19, 1995, when the Flames traded him to the Dallas Stars in exchange for Jarome Iginla and Corey Millen.
Dallas Stars
The Stars immediately signed Nieuwendyk to a new deal worth US$11.3 million over five years. Bob Gainey, the team's general manager, hoped that the acquisition of Nieuwendyk would help the franchise, which had relocated from Minnesota three years previous, establish its place in Dallas. Nieuwendyk scored 14 goals and 32 points in 52 games with the Stars to finish the 1995–96 season.
Nieuwendyk improved to 30 goals in 1996–97 despite missing the first month of the season with fractured rib cartilage. A 39-goal season followed, but he was again sidelined by injury after appearing in only one game of the 1998 Stanley Cup playoffs. In the opening game of the Stars' first-round series against the San Jose Sharks, he suffered a torn ACL as a result of a check by Bryan Marchment. The injury required two knee surgeries to repair and six months to heal, which caused him to miss the beginning of the 1998–99 NHL season.
He finished the regular season with 28 goals and 55 points in 67 games, and added 11 goals and 10 assists in the 1999 Stanley Cup playoffs to help the Stars win the first Stanley Cup in their franchise history. Six of his playoff goals were game winners, and he was voted the winner of the Conn Smythe Trophy as most valuable player of the playoffs. Injuries again limited Nieuwendyk in 1999–2000. He missed ten games due to a bruised chest then suffered a separated shoulder a week after his return that kept him out of the lineup for several weeks. He played only 47 regular season games, but added 23 more in the playoffs as the Stars reached the 2000 Stanley Cup Finals. They lost the series in six games to the New Jersey Devils, however.
Nieuwendyk played in his 1,000th career game on January 20, 2002, against the Chicago Blackhawks. Two months later, on March 19, 2002, he was traded to the Devils, along with Jamie Langenbrunner, in exchange for Jason Arnott, Randy McKay and a first round selection in the 2002 NHL Entry Draft.
New Jersey, Toronto and Florida
New Jersey, who had won the Stanley Cup in 2000 and reached the finals the following year, acquired Nieuwendyk for their playoff run in 2002. He scored 11 points in 14 regular season games for the Devils following the trade, but New Jersey was eliminated in the first round of the 2002 Stanley Cup playoffs by the Carolina Hurricanes. Nieuwendyk reached two offensive milestones in 2002–03. He scored his 500th career goal on January 17, 2003, against Carolina's Kevin Weekes. On February 23, he scored his 1,000th point in a win over the Pittsburgh Penguins. He and the Devils reached the 2003 Stanley Cup Finals, but Nieuwendyk suffered a hip injury in the sixth game of the Eastern Conference Final that prevented him from appearing in the championship series. The Devils defeated the Mighty Ducks of Anaheim in the final, capturing the franchise's third Stanley Cup. For Nieuwendyk, it was his third title with his third different team.
The Toronto Maple Leafs signed Nieuwendyk to a one-year contract for the 2003–04 season. He scored 22 goals for Toronto in a season marred by abdominal and back injuries that limited him to 64 games played. After scoring two goals in the decisive Game 7 opening round series victory against the Ottawa Senators, a groin injury that forced him out of the lineup for much of Toronto's second-round series loss to the Philadelphia Flyers. He signed another one-year deal for 2004–05, but the season was cancelled due to a labour dispute that was feared would mark the end of the 38-year-old Nieuwendyk's career.
When NHL play resumed in 2005–06, the Florida Panthers sought to bolster their lineup with veteran players. They signed both Nieuwendyk and Roberts, who had played together in Calgary and Toronto and wanted to finish their careers together, to two-year, $4.5 million contracts. Nieuwendyk appeared in 65 games during the season, scoring 26 goals and 56 points. He appeared in 15 games in 2006–07 before chronic back pain forced him onto injured reserve. After missing 14 games, Nieuwendyk announced his retirement on December 7, 2006.
International play
As a member of the Canadian national junior team at the 1986 World Junior Ice Hockey Championships, Nieuwendyk scored five goals in seven games to help Canada win a silver medal. His 12 points in the tournament tied him for third in scoring for Team Canada and fourth overall in the tournament. One year later, Nieuwendyk joined the senior national team for the Calgary Cup, a four-team exhibition tournament that served as a preview event for the 1988 Winter Olympics. He scored a goal in each of the first two games, losses to the United States and Czechoslovakia, for the Canadian team that won the bronze medal. He joined the senior team again for the 1990 Men's World Ice Hockey Championships, but appeared in only one game after suffering a knee injury. He was invited to Team Canada's summer camp for the 1991 Canada Cup tournament but suffered a knee injury that caused him to miss the entire tournament.
NHL players were first allowed to participate in the Olympic ice hockey tournament in 1998. Nieuwendyk was among the players named to join Canada's "dream team". He scored two goals and three assists in six games, but was one of several Canadian players stopped by Czech goaltender Dominik Hašek in a shootout loss in the semifinals. Canada then dropped a 3–2 decision to Finland to finish fourth. Nieuwendyk played alongside Brendan Shanahan and Theoren Fleury on Canada's checking line at the 2002 Olympic tournament. He scored one goal and helped Canada win its first Olympic hockey gold medal in 50 years.
Playing style
Cliff Fletcher, who drafted him into the NHL, described Nieuwendyk as being a "pre-eminent two-way guy who had 50-goal seasons", adding that "he had a great stick around the net, he had a great shot, he saw the ice well, he could skate, he had the size – he had everything you needed to have. History has indicated that wherever he went, the team was competitive. The more that was on the line in big games, the better Joe played." He was an offensive centre in Calgary and power play specialist, able to withstand the physical punishment required to stand in front of the net and battle defencemen for the puck. He led the NHL in power play goals in 1987–88 with 31 and finished in the top ten on four other occasions. Wayne Gretzky, who also played box lacrosse in his youth, argued that the skills Nieuwendyk learned dodging opposing players in that sport aided his development as a hockey player. Nieuwendyk was regarded as a top faceoff man, a skill that Team Canada relied on during the Olympics. He was a checking-line centre at the 2002 Olympics, relied on for his defensive and faceoff abilities.
Nieuwendyk was regarded as a leader throughout his career. He was the captain of the Flames for four seasons, and his teammates in Dallas praised him as a player who would help guide the younger players as they began their careers. His presence was considered an important factor in New Jersey's 2003 Stanley Cup championship. Devils' general manager Lou Lamoriello praised his impact both on and off the ice: "Certainly (the tangibles were) the quality player he was even at that time, how good he was defensively as well as always finding a way to get big goals. It was also about how good he was on faceoffs. And the intangibles, which are really more tangible than anything, are what he brought in the locker room from leadership and unselfishness. It was obvious that when he didn't play he was still so active in his support. He's genuine in every sense of the word. He was a true team player." Nieuwendyk was inducted into the Hockey Hall of Fame in 2011, and his uniform number 25 was honoured by the Calgary Flames on March 7, 2014, as he was named to the organization's "Forever a Flame" program.
Management career
Remaining in hockey following the end of his playing career, Nieuwendyk joined the Florida Panthers' front office as a consultant to general manager Jacques Martin in 2007. He left the Panthers after one year to join the Maple Leafs as special assistant to general manager Cliff Fletcher in 2008. He served as assistant general manager for the silver-medal winning Canadian national team at the 2009 World Championships, and on June 1, 2009, was named general manager of the Dallas Stars. His ability to make moves was at times limited by the financial difficulty of team owner Tom Hicks. Among Nieuwendyk's decisions in his first two seasons as general manager was to allow popular former captain Mike Modano to leave the organization after 22 years with the franchise in 2010. Nieuwendyk stated such moves were difficult, as he played with Modano and considered him a friend. Nieuwendyk was released as Stars' general manager at the conclusion of the 2012–13 NHL season as team owner Tom Gaglardi stated that the team wanted to "take this organization in a different direction". On September 3, 2014, the Carolina Hurricanes announced they had hired him as a pro scout and advisor. He resigned from his position with Carolina on April 30, 2018.
Personal life
Nieuwendyk and his wife Tina have three children: daughters Tyra and Kaycee and son Jackson. In 1995, while a member of the Flames, Nieuwendyk won the King Clancy Memorial Trophy given annually to the player "who best exemplifies leadership qualities on and off the ice and who has made a significant humanitarian contribution to his community". He was honoured by the league for his contributions to the Society for the Prevention of Cruelty to Animals (SPCA), and was a spokesman and honorary chairman of the Foothills Hospital Foundation. He remained active with the SPCA after his trade to Dallas, and following the September 11 attacks, organized a charity softball game that raised $115,000 for charitable groups in the aftermath of the attack. While a member of the Maple Leafs during the lockout, he participated in a charity hockey game organized by cancer survivor and former NHL player Keith Acton that raised $30,000 for cancer and leukemia charities in southern Ontario.
Career statistics
Regular season and playoffs
International
Awards and honours
References
External links
1966 births
Living people
Calder Trophy winners
Calgary Flames captains
Calgary Flames draft picks
Calgary Flames players
Canadian ice hockey centres
Canadian lacrosse players
Canadian people of Dutch descent
Carolina Hurricanes scouts
Conn Smythe Trophy winners
Cornell Big Red men's ice hockey players
Dallas Stars executives
Dallas Stars players
Florida Panthers executives
Florida Panthers players
Hockey Hall of Fame inductees
Sportspeople from Oshawa
Sportspeople from Whitby, Ontario
Ice hockey players at the 1998 Winter Olympics
Ice hockey players at the 2002 Winter Olympics
King Clancy Memorial Trophy winners
Medalists at the 2002 Winter Olympics
National Hockey League All-Stars
New Jersey Devils players
Olympic gold medalists for Canada
Olympic ice hockey players of Canada
Olympic medalists in ice hockey
Stanley Cup champions
Toronto Maple Leafs players
Ice hockey people from Ontario
AHCA Division I men's ice hockey All-Americans | true | [
"Caretakers is a 2019 studio album by American rock singer-songwriter Pete Yorn. It has received mixed reviews from critics.\n\nCritical reception\n4 stars All Music Guide, an appealing blend that sets it apart from most other albums in 2019, along with most of Yorn's catalog.\n\nTrack listing\n\"Calm Down\" (Jackson Phillips, Soko, Pete Yorn)– 2:55\n\"I Wanna Be the One\" (Yorn)– 3:31\n\"Can't Stop You\" (Phillips, Yorn) – 3:07\n\"Idols (We Don't Ever Have to Say Goodbye)\" (Phillips, Yorn)– 2:54\n\"Do You Want to Love Again?\" (Yorn)– 3:09\n\"Caretakers\" (Phillips, Yorn)– 3:18\n\"Friends\" (Yorn)– 4:10\n\"ECT\" (Phillips, Yorn)– 3:29\n\"POV\" (Phillips, Yorn)– 3:12\n\"Opal\" (Yorn)– 2:44\n\"A Fire in the Sun\" (Phillips, Yorn)– 2:18\n\"Try\" (Phillips, Yorn)– 2:55\n\nPersonnel\nPete Yorn– acoustic and electric guitars; vocals; production; bass guitar on \"Calm Down\", “I Wanna Be the One”, \"Idols (We Don't Ever Have to Say Goodbye)\", “Do You Want To Love Again?”, \"ECT\", \"POV\", and \"Opal\"; synth bass on “I Wanna Be the One”; backing vocals on \"Idols (We Don't Ever Have to Say Goodbye)\" and “Do You Want To Love Again?”; banjo on \"Friends\" and \"Opal\"; percussion on \"Friends\" and \"Opal\"\nAllen Alcantara– art direction and layout\nHazel English– vocals on \"Calm Down\"\nShawn Everett– mastering\nJackson Phillips– production; recording; mixing; drums and rhythm programming; backing vocals; electric guitar on \"Calm Down\", \"I Wanna Be the One\", “Can’t Stop You”, \"Idols (We Don't Ever Have to Say Goodbye)\", and “Do You Want to Love Again?”; synth on \"Calm Down\", “Do You Want to Love Again?”, \"Friends\", \"ECT\", \"POV\", \"Opal\", \"A Fire in the Sun\", and \"Try\"; synth bass on \"Calm Down\", “Do You Want to Love Again?”, \"Caretakers”, \"Friends\", \"Opal\", and \"A Fire in the Sun\"; percussion on \"Calm Down\", \"Idols (We Don't Ever Have to Say Goodbye)\", “Do You Want to Love Again?”, and \"Try\"; acoustic guitar on \"Calm Down\" and “Can’t Stop You”; baritone guitar on \"I Wanna Be the One\"; juno synth on \"I Wanna Be the One\", “Can’t Stop You”, and \"Opal\"; juno synth bass on “Can’t Stop You”, \"Caretakers”, and \"ECT\"; e-bow on “Can’t Stop You” and \"Friends\"; hi bass on \"Idols (We Don't Ever Have to Say Goodbye)\"; piano on \"Idols (We Don't Ever Have to Say Goodbye)\" and \"Caretakers\"; juno bass on \"Idols (We Don't Ever Have to Say Goodbye)\", \"POV\", and \"Try\"; bass guitar on \"A Fire in the Sun\"; keyboards on \"Try\"\nBeth Yorn– cover photograph\n\nReferences\n\nExternal links\n\n2019 albums\nPete Yorn albums\nSelf-released albums",
"Road to Forever is the second solo studio album by Don Felder, the first since 1983. Road to Forever, was released October 9, 2012.\n\nRolling Stone (France) called Road to Forever “one of those timeless albums, cut to ride on highways, which we love to know still exist.” while Musicradar.com said: “The album’s 12 cuts are heartfelt and direct, a catchy and soulful musical autobiography that steers clear of mawkish self-indulgence. And Felder’s guitar playing – rendered with but a fraction of his nearly 300 instruments! – is as stirring as ever.” And Premier Guitar praised: “Felder is back with his trademark guitar choirs and hooky riffs.”\n\nContributors to the album include Randy Jackson, Crosby, Stills and Nash, Steve Lukather, David Paich and Steve Porcaro of Toto and Tommy Shaw of Styx. It was produced by Felder along with Robin DiMaggio.\n\nThe album was conceived and written out of the pain Felder felt following the breakup of his marriage in 2000, and his dismissal from the Eagles soon after.\n\nOn December 17, 2013 the album was reissued as \"Road To Forever - Extended Edition\" on the iTunes Store and Amazon MP3 Store. Two of the four bonus tracks (\"Can't Stop Now\" and \"Southern Bound\") were previously only available on the Japanese pressing of the CD. \"Sensuality\" had been an iTunes Store-exclusive and \"She Runs Free\" had been an Amazon MP3 Store-exclusive. \"Give My Life\", which is the final track on the CD, remains the last track on the Extended Edition and appears after the four bonus tracks. The single \"You Don't Have Me\" made it to #1 and stayed in the top ten for 11 weeks on the Classic Rock Radio charts and the previous single \"Wash Away\" reached #4 between Eric Clapton and The Rolling Stones.\n\nTrack listing \n\"Fall From the Grace of Love\" 3:47 \n\"Girls in Black\" 3:39\n\"Wash Away\" 4:18\nI Believe in You\" 3:58\n\"You Don't Have Me\" 3:47\n\"Money\" 4:11\n\"Someday\" 4:13\n\"Heal Me\" 7:23\n\"Over You\" 4:09\n\"Road to Forever\" 4:59\n\"Life's Lullaby\" 4:21\n\"Can't Stop Now\" [Extended Edition Bonus Track] 4:25\n\"Southern Bound\" [Extended Edition Bonus Track] 3:57\n\"She Runs Free\" [Extended Edition Bonus Track] 4:01\n\"Sensuality\" [Extended Edition Bonus Track] 3:47\n\"Give My Life\" 4:04\n\nPersonnel \n Don Felder and Robin DiMaggio – producers\n Ed Cherney – engineer, mixing\n Steven Miller – additional engineering\n Mark Needham, Mikal Blue – recording engineers\n Will Briere – second engineer\n Don Felder – all guitars, lead and background vocals\nBackground vocals on “Fall From the Grace of Love”: David Crosby, Stephen Stills & Graham Nash\nBackground vocals on “Road to Forever”: Leah Felder\nBass on “Someday” Randy Jackson\nPiano, keyboards, string arrangement and background vocals: Timothy Drury\nPiano, Hammond and Rhodes: David Paich\nBackground vocals on “Heal Me” and “Wash Away”: Tommy Shaw\nKeys: Steve Porcaro\nPercussions: Lenny Castro\nHammond B3: Michael Finnigan\nGuitar on “Road To Forever”: Steve Lukather\nBackground Vocals: Charlotte Gibson\nKeyboards: Michael Bearden\nBass & Background Vocals on “Heal Me”: Bahkiti Kumalo\nGuitar & Background Vocals on “Heal Me”: Vincent Nguini\nBackground Vocals on “Heal Me” & “Money ”: Sean Holt\nBass: Chris Chaney\nBass: Leland Sklar\nKeyboards: Alex Allesandroni\nPedal Steel: Greg Leisz\nBackground Vocals on “Money” & “Road to Forever”: Shane August\nDrums, Acoustic Piano, Keyboard Programming & Percussions: Robin DiMaggio\nManagement: Red Light Management, Charlie Brusco\nPhotography: Michael Helms, Myriam Santos\nArt Direction & Design: Brian Porizek\n\nReferences\n\nDon Felder albums\n2012 albums"
]
|
[
"Joe Nieuwendyk",
"New Jersey, Toronto and Florida",
"What happned in New Jersey, Toronto, and Florida?",
"New Jersey, who had won the Stanley Cup in 2000 and reached the finals the following year, acquired Nieuwendyk for their playoff run in 2002.",
"Did he ever participate in the playoff run?",
"New Jersey, who had won the Stanley Cup in 2000 and reached the finals the following year, acquired Nieuwendyk for their playoff run in 2002.",
"Are there any other interesting aspects about this article?",
"Nieuwendyk reached two offensive milestones in 2002-03. He scored his 500th career goal on January 17, 2003, against Carolina's Kevin Weekes.",
"What ohter milestones did he reach?",
"He and the Devils reached the 2003 Stanley Cup Finals, but Nieuwendyk suffered a hip injury in the sixth game of the Eastern Conference",
"How bad was his injury?",
"I don't know.",
"Was he ever able to play again?",
"The Toronto Maple Leafs signed Nieuwendyk to a one-year contract for the 2003-04 season.",
"Did he get hurt again?",
"He scored 22 goals for Toronto in a season marred by abdominal and back injuries that limited him to 64 games played, and a groin injury",
"Did he ever stop playing to try and heal?",
"forced him out of the lineup for much of Toronto's second-round series loss to the Philadelphia Flyers."
]
| C_96cf32367ed04f83b57408823d4d1cfd_0 | What happened then? | 9 | What happened after Toronto's second-round series loss to the Philadelphia Flyers? | Joe Nieuwendyk | New Jersey, who had won the Stanley Cup in 2000 and reached the finals the following year, acquired Nieuwendyk for their playoff run in 2002. He scored 11 points in 14 regular season games for the Devils following the trade, but New Jersey was eliminated in the first round of the 2002 Stanley Cup playoffs by the Carolina Hurricanes. Nieuwendyk reached two offensive milestones in 2002-03. He scored his 500th career goal on January 17, 2003, against Carolina's Kevin Weekes. On February 23, he scored his 1,000th point in a win over the Pittsburgh Penguins. He and the Devils reached the 2003 Stanley Cup Finals, but Nieuwendyk suffered a hip injury in the sixth game of the Eastern Conference Final that prevented him from appearing in the championship series. The Devils defeated the Mighty Ducks of Anaheim in the final, capturing the franchise's third Stanley Cup. For Nieuwendyk, it was his third title with his third different team. The Toronto Maple Leafs signed Nieuwendyk to a one-year contract for the 2003-04 season. He scored 22 goals for Toronto in a season marred by abdominal and back injuries that limited him to 64 games played, and a groin injury that forced him out of the lineup for much of Toronto's second-round series loss to the Philadelphia Flyers. He signed another one-year deal for 2004-05, but the season was cancelled due to a labour dispute that was feared would mark the end of the 38-year-old Nieuwendyk's career. When NHL play resumed in 2005-06, the Florida Panthers sought to bolster their lineup with veteran players. They signed both Nieuwendyk and Roberts, who had played together in Calgary and Toronto and wanted to finish their careers together, to two-year, $4.5 million contracts. Nieuwendyk appeared in 65 games during the season, scoring 26 goals and 56 points. He appeared in 15 games in 2006-07 before chronic back pain forced him onto injured reserve. After missing 14 games, Nieuwendyk announced his retirement on December 7, 2006. CANNOTANSWER | He signed another one-year deal for 2004-05, but the season was cancelled due to a labour dispute that was feared would mark the end of the 38-year-old Nieuwendyk's career. | Joseph Nieuwendyk ( ; born September 10, 1966) is a Canadian former National Hockey League (NHL) player. He was a second round selection of the Calgary Flames, 27th overall, at the 1985 NHL Entry Draft and played 20 seasons for the Flames, Dallas Stars, New Jersey Devils, Toronto Maple Leafs, and Florida Panthers. He is one of only 11 players in NHL history to win the Stanley Cup with three or more different teams, winning titles with Calgary in 1989, Dallas in 1999 and New Jersey in 2003. A two-time Olympian, Nieuwendyk won a gold medal with Team Canada at the 2002 winter games. He was inducted into the Hockey Hall of Fame in 2011 and his uniform number 25 was honoured by the Flames in 2014. Joe Nieuwendyk was inducted into the Ontario Sports Hall of Fame in 2014. In 2017 Nieuwendyk was named one of the '100 Greatest NHL Players' in history.
An accomplished box lacrosse player, Nieuwendyk led the Whitby Warriors to the 1984 Minto Cup national junior championship before focusing exclusively on hockey. He played university hockey with the Cornell Big Red where he was a two-time All-American. He won the Calder Memorial Trophy as NHL rookie of the year in 1988 after becoming only the second first-year player to score 50 goals. He was a four-time All-Star, won the King Clancy Memorial Trophy in 1995 for his leadership and humanitarian work, and was named the Conn Smythe Trophy winner in 1999 as most valuable player of the postseason. Nieuwendyk played 1,257 games in his career, scoring 564 goals and 1,126 points.
Chronic back pain forced Nieuwendyk's retirement as a player in 2006. He then began a new career in management, acting first as a consultant to the general manager with the Panthers before moving onto the Maple Leafs where he was an assistant to the general manager. Nieuwendyk was the general manager of the Dallas Stars between 2009 and 2013. He most recently worked as a pro scout and advisor for the Carolina Hurricanes, until resigning his contract April 30, 2018.
Early life
Nieuwendyk was born September 10, 1966 in Oshawa, Ontario, and grew up in Whitby. He is the youngest of four children to Gordon and Joanne Nieuwendyk, who immigrated to Canada from the Netherlands in 1958. Gordon owned a car repair shop in Whitby. Joe grew up in a sporting family. His brother Gil was a box lacrosse player, while his uncle Ed Kea and cousin Jeff Beukeboom also played in the National Hockey League (NHL). His best friend growing up was future NHL teammate Gary Roberts.
He played both hockey and lacrosse growing up and the latter considered his better sport. At one point, Nieuwendyk was considered the top junior lacrosse player in Canada. He earned a spot with the Whitby Warriors junior A team at the age of 15, and was named the most valuable player of the Minto Cup tournament in 1984 when he led the Warriors to the national championship. The Ontario Lacrosse Association later named its junior A rookie of the year award after Nieuwendyk.
Playing career
College
Nieuwendyk went undrafted by any Ontario Hockey League team, and so played a season of junior B for the Pickering Panthers in 1983–84. Eligible for the 1984 NHL Entry Draft but unselected, he chose to attend Cornell University where he played hockey and lacrosse for the Big Red. He was named the Eastern College Athletic Conference (ECAC) hockey rookie of the year in 1984–85 after scoring 39 points in 23 games. At the 1985 NHL Entry Draft, the Calgary Flames selected him in the second round, 27th overall, with a pick obtained that day in a trade with the Minnesota North Stars for Kent Nilsson. The disappointment in Calgary over the trade of Nilsson resulted in some criticism of Nieuwendyk's selection, famously leading to a local newspaper to question the moves with the headline "Joe Who?"
Returning to Cornell for the 1985–86 season, Nieuwendyk chose to give up lacrosse in order to focus on hockey. He was named an ECAC first team All-Star in 1985–86 and an NCAA All-American after scoring 42 points in 21 games. In his final season at Cornell, he was named the team's most valuable player and led the ECAC in scoring with 52 points. He was again named an ECAC All-Star and NCAA All-American, and a finalist for the 1987 Hobey Baker Award.
Nieuwendyk chose to forgo his senior year in favour of turning professional. In 81 games with Cornell, Nieuwendyk scored 73 goals and 151 points, both among the highest totals in the school's history. His number 25 jersey was retired by Cornell in 2010, shared with Ken Dryden's number 1 as the first such numbers retired by the hockey team, and believed the first in any sport in the school's varsity sports history. In 2011, he was named one of the 50 greatest players in ECAC history.
Calgary Flames
Once his junior season at Cornell ended, Nieuwendyk joined the national team for five games before turning professional with the Flames. He made his NHL debut on March 10, 1987, against the Washington Capitals and scored his first NHL goal against goaltender Pete Peeters. He appeared in nine regular season games in the 1986–87 NHL season, scoring five goals and one assist, and appeared in six playoff games. Playing his first full season in 1987–88, Nieuwendyk captured the attention of the sports media by scoring 32 goals in his first 42 games to put him on a pace to surpass Mike Bossy's rookie record of 53 goals. Nieuwendyk finished two goals short of Bossy's record, but led the team with 51 goals and was the second first-year player to score at least 50 goals in one season. He played in his first NHL All-Star Game, was named to the All-Rookie Team and was voted the winner of the Calder Memorial Trophy as the NHL's top rookie.
Nieuwendyk again scored 51 goals in 1988–89 and marked the 100th of his career in his 144th career game. At the time, he was the third fastest player to reach the milestone, behind Bossy (129 games) and Maurice Richard (134 games), and was the third player in league history to score 50 goals in each of his first two seasons (Bossy and Wayne Gretzky). He led the league with 11 game-winning goals and set a Flames franchise record on January 11, 1989, when he scored five goals in one game against the Winnipeg Jets. Nieuwendyk appeared in his second of three-consecutive All-Star Games. In the 1989 Stanley Cup playoffs, he scored 10 goals and four assists to help the Flames win their first- and only -Stanley Cup championship in franchise history. In the clinching game against the Montreal Canadiens, Nieuwendyk set up Lanny McDonald's final NHL goal with a quick pass after receiving the puck from Håkan Loob.
A 45-goal season in 1989–90 was enough for Nieuwendyk to lead the team in goal scoring for the third consecutive season. He missed he first 11 games of the 1991–92 NHL season after suffering a knee injury during a summer evaluation camp for the 1991 Canada Cup. Nieuwendyk began the season as the 12th captain in the Flames franchise history. He was limited to 22 goals and 56 points on the season, but scored his 200th career goal on December 3, 1991, against the Detroit Red Wings. His 230th career goal, scored against the Tampa Bay Lightning on November 13, 1992, established a Flames franchise record for career goals (since broken).
Nieuwendyk entered the 1995–96 season unhappy with his contract status. Unable to come to terms with the Flames, he had gone to arbitration, and was awarded a contract worth C$1.85 million, but insisted on renegotiating the deal into a long-term contract extension. He refused an offer of a three-year, $6 million contract from the Flames, and as the dispute dragged on, chose not to join the team when the season began. He remained a holdout until December 19, 1995, when the Flames traded him to the Dallas Stars in exchange for Jarome Iginla and Corey Millen.
Dallas Stars
The Stars immediately signed Nieuwendyk to a new deal worth US$11.3 million over five years. Bob Gainey, the team's general manager, hoped that the acquisition of Nieuwendyk would help the franchise, which had relocated from Minnesota three years previous, establish its place in Dallas. Nieuwendyk scored 14 goals and 32 points in 52 games with the Stars to finish the 1995–96 season.
Nieuwendyk improved to 30 goals in 1996–97 despite missing the first month of the season with fractured rib cartilage. A 39-goal season followed, but he was again sidelined by injury after appearing in only one game of the 1998 Stanley Cup playoffs. In the opening game of the Stars' first-round series against the San Jose Sharks, he suffered a torn ACL as a result of a check by Bryan Marchment. The injury required two knee surgeries to repair and six months to heal, which caused him to miss the beginning of the 1998–99 NHL season.
He finished the regular season with 28 goals and 55 points in 67 games, and added 11 goals and 10 assists in the 1999 Stanley Cup playoffs to help the Stars win the first Stanley Cup in their franchise history. Six of his playoff goals were game winners, and he was voted the winner of the Conn Smythe Trophy as most valuable player of the playoffs. Injuries again limited Nieuwendyk in 1999–2000. He missed ten games due to a bruised chest then suffered a separated shoulder a week after his return that kept him out of the lineup for several weeks. He played only 47 regular season games, but added 23 more in the playoffs as the Stars reached the 2000 Stanley Cup Finals. They lost the series in six games to the New Jersey Devils, however.
Nieuwendyk played in his 1,000th career game on January 20, 2002, against the Chicago Blackhawks. Two months later, on March 19, 2002, he was traded to the Devils, along with Jamie Langenbrunner, in exchange for Jason Arnott, Randy McKay and a first round selection in the 2002 NHL Entry Draft.
New Jersey, Toronto and Florida
New Jersey, who had won the Stanley Cup in 2000 and reached the finals the following year, acquired Nieuwendyk for their playoff run in 2002. He scored 11 points in 14 regular season games for the Devils following the trade, but New Jersey was eliminated in the first round of the 2002 Stanley Cup playoffs by the Carolina Hurricanes. Nieuwendyk reached two offensive milestones in 2002–03. He scored his 500th career goal on January 17, 2003, against Carolina's Kevin Weekes. On February 23, he scored his 1,000th point in a win over the Pittsburgh Penguins. He and the Devils reached the 2003 Stanley Cup Finals, but Nieuwendyk suffered a hip injury in the sixth game of the Eastern Conference Final that prevented him from appearing in the championship series. The Devils defeated the Mighty Ducks of Anaheim in the final, capturing the franchise's third Stanley Cup. For Nieuwendyk, it was his third title with his third different team.
The Toronto Maple Leafs signed Nieuwendyk to a one-year contract for the 2003–04 season. He scored 22 goals for Toronto in a season marred by abdominal and back injuries that limited him to 64 games played. After scoring two goals in the decisive Game 7 opening round series victory against the Ottawa Senators, a groin injury that forced him out of the lineup for much of Toronto's second-round series loss to the Philadelphia Flyers. He signed another one-year deal for 2004–05, but the season was cancelled due to a labour dispute that was feared would mark the end of the 38-year-old Nieuwendyk's career.
When NHL play resumed in 2005–06, the Florida Panthers sought to bolster their lineup with veteran players. They signed both Nieuwendyk and Roberts, who had played together in Calgary and Toronto and wanted to finish their careers together, to two-year, $4.5 million contracts. Nieuwendyk appeared in 65 games during the season, scoring 26 goals and 56 points. He appeared in 15 games in 2006–07 before chronic back pain forced him onto injured reserve. After missing 14 games, Nieuwendyk announced his retirement on December 7, 2006.
International play
As a member of the Canadian national junior team at the 1986 World Junior Ice Hockey Championships, Nieuwendyk scored five goals in seven games to help Canada win a silver medal. His 12 points in the tournament tied him for third in scoring for Team Canada and fourth overall in the tournament. One year later, Nieuwendyk joined the senior national team for the Calgary Cup, a four-team exhibition tournament that served as a preview event for the 1988 Winter Olympics. He scored a goal in each of the first two games, losses to the United States and Czechoslovakia, for the Canadian team that won the bronze medal. He joined the senior team again for the 1990 Men's World Ice Hockey Championships, but appeared in only one game after suffering a knee injury. He was invited to Team Canada's summer camp for the 1991 Canada Cup tournament but suffered a knee injury that caused him to miss the entire tournament.
NHL players were first allowed to participate in the Olympic ice hockey tournament in 1998. Nieuwendyk was among the players named to join Canada's "dream team". He scored two goals and three assists in six games, but was one of several Canadian players stopped by Czech goaltender Dominik Hašek in a shootout loss in the semifinals. Canada then dropped a 3–2 decision to Finland to finish fourth. Nieuwendyk played alongside Brendan Shanahan and Theoren Fleury on Canada's checking line at the 2002 Olympic tournament. He scored one goal and helped Canada win its first Olympic hockey gold medal in 50 years.
Playing style
Cliff Fletcher, who drafted him into the NHL, described Nieuwendyk as being a "pre-eminent two-way guy who had 50-goal seasons", adding that "he had a great stick around the net, he had a great shot, he saw the ice well, he could skate, he had the size – he had everything you needed to have. History has indicated that wherever he went, the team was competitive. The more that was on the line in big games, the better Joe played." He was an offensive centre in Calgary and power play specialist, able to withstand the physical punishment required to stand in front of the net and battle defencemen for the puck. He led the NHL in power play goals in 1987–88 with 31 and finished in the top ten on four other occasions. Wayne Gretzky, who also played box lacrosse in his youth, argued that the skills Nieuwendyk learned dodging opposing players in that sport aided his development as a hockey player. Nieuwendyk was regarded as a top faceoff man, a skill that Team Canada relied on during the Olympics. He was a checking-line centre at the 2002 Olympics, relied on for his defensive and faceoff abilities.
Nieuwendyk was regarded as a leader throughout his career. He was the captain of the Flames for four seasons, and his teammates in Dallas praised him as a player who would help guide the younger players as they began their careers. His presence was considered an important factor in New Jersey's 2003 Stanley Cup championship. Devils' general manager Lou Lamoriello praised his impact both on and off the ice: "Certainly (the tangibles were) the quality player he was even at that time, how good he was defensively as well as always finding a way to get big goals. It was also about how good he was on faceoffs. And the intangibles, which are really more tangible than anything, are what he brought in the locker room from leadership and unselfishness. It was obvious that when he didn't play he was still so active in his support. He's genuine in every sense of the word. He was a true team player." Nieuwendyk was inducted into the Hockey Hall of Fame in 2011, and his uniform number 25 was honoured by the Calgary Flames on March 7, 2014, as he was named to the organization's "Forever a Flame" program.
Management career
Remaining in hockey following the end of his playing career, Nieuwendyk joined the Florida Panthers' front office as a consultant to general manager Jacques Martin in 2007. He left the Panthers after one year to join the Maple Leafs as special assistant to general manager Cliff Fletcher in 2008. He served as assistant general manager for the silver-medal winning Canadian national team at the 2009 World Championships, and on June 1, 2009, was named general manager of the Dallas Stars. His ability to make moves was at times limited by the financial difficulty of team owner Tom Hicks. Among Nieuwendyk's decisions in his first two seasons as general manager was to allow popular former captain Mike Modano to leave the organization after 22 years with the franchise in 2010. Nieuwendyk stated such moves were difficult, as he played with Modano and considered him a friend. Nieuwendyk was released as Stars' general manager at the conclusion of the 2012–13 NHL season as team owner Tom Gaglardi stated that the team wanted to "take this organization in a different direction". On September 3, 2014, the Carolina Hurricanes announced they had hired him as a pro scout and advisor. He resigned from his position with Carolina on April 30, 2018.
Personal life
Nieuwendyk and his wife Tina have three children: daughters Tyra and Kaycee and son Jackson. In 1995, while a member of the Flames, Nieuwendyk won the King Clancy Memorial Trophy given annually to the player "who best exemplifies leadership qualities on and off the ice and who has made a significant humanitarian contribution to his community". He was honoured by the league for his contributions to the Society for the Prevention of Cruelty to Animals (SPCA), and was a spokesman and honorary chairman of the Foothills Hospital Foundation. He remained active with the SPCA after his trade to Dallas, and following the September 11 attacks, organized a charity softball game that raised $115,000 for charitable groups in the aftermath of the attack. While a member of the Maple Leafs during the lockout, he participated in a charity hockey game organized by cancer survivor and former NHL player Keith Acton that raised $30,000 for cancer and leukemia charities in southern Ontario.
Career statistics
Regular season and playoffs
International
Awards and honours
References
External links
1966 births
Living people
Calder Trophy winners
Calgary Flames captains
Calgary Flames draft picks
Calgary Flames players
Canadian ice hockey centres
Canadian lacrosse players
Canadian people of Dutch descent
Carolina Hurricanes scouts
Conn Smythe Trophy winners
Cornell Big Red men's ice hockey players
Dallas Stars executives
Dallas Stars players
Florida Panthers executives
Florida Panthers players
Hockey Hall of Fame inductees
Sportspeople from Oshawa
Sportspeople from Whitby, Ontario
Ice hockey players at the 1998 Winter Olympics
Ice hockey players at the 2002 Winter Olympics
King Clancy Memorial Trophy winners
Medalists at the 2002 Winter Olympics
National Hockey League All-Stars
New Jersey Devils players
Olympic gold medalists for Canada
Olympic ice hockey players of Canada
Olympic medalists in ice hockey
Stanley Cup champions
Toronto Maple Leafs players
Ice hockey people from Ontario
AHCA Division I men's ice hockey All-Americans | false | [
"What Happened to Jones may refer to:\n What Happened to Jones (1897 play), a play by George Broadhurst\n What Happened to Jones (1915 film), a lost silent film\n What Happened to Jones (1920 film), a lost silent film\n What Happened to Jones (1926 film), a silent film comedy",
"What Happened may refer to:\n\n What Happened (Clinton book), 2017 book by Hillary Clinton\n What Happened (McClellan book), 2008 autobiography by Scott McClellan\n \"What Happened\", a song by Sublime from the album 40oz. to Freedom\n \"What Happened\", an episode of One Day at a Time (2017 TV series)\n\nSee also\nWhat's Happening (disambiguation)"
]
|
[
"Joe Nieuwendyk",
"New Jersey, Toronto and Florida",
"What happned in New Jersey, Toronto, and Florida?",
"New Jersey, who had won the Stanley Cup in 2000 and reached the finals the following year, acquired Nieuwendyk for their playoff run in 2002.",
"Did he ever participate in the playoff run?",
"New Jersey, who had won the Stanley Cup in 2000 and reached the finals the following year, acquired Nieuwendyk for their playoff run in 2002.",
"Are there any other interesting aspects about this article?",
"Nieuwendyk reached two offensive milestones in 2002-03. He scored his 500th career goal on January 17, 2003, against Carolina's Kevin Weekes.",
"What ohter milestones did he reach?",
"He and the Devils reached the 2003 Stanley Cup Finals, but Nieuwendyk suffered a hip injury in the sixth game of the Eastern Conference",
"How bad was his injury?",
"I don't know.",
"Was he ever able to play again?",
"The Toronto Maple Leafs signed Nieuwendyk to a one-year contract for the 2003-04 season.",
"Did he get hurt again?",
"He scored 22 goals for Toronto in a season marred by abdominal and back injuries that limited him to 64 games played, and a groin injury",
"Did he ever stop playing to try and heal?",
"forced him out of the lineup for much of Toronto's second-round series loss to the Philadelphia Flyers.",
"What happened then?",
"He signed another one-year deal for 2004-05, but the season was cancelled due to a labour dispute that was feared would mark the end of the 38-year-old Nieuwendyk's career."
]
| C_96cf32367ed04f83b57408823d4d1cfd_0 | What did he do when his career ended? | 10 | What did Joe Nieuwendyk do when his career ended? | Joe Nieuwendyk | New Jersey, who had won the Stanley Cup in 2000 and reached the finals the following year, acquired Nieuwendyk for their playoff run in 2002. He scored 11 points in 14 regular season games for the Devils following the trade, but New Jersey was eliminated in the first round of the 2002 Stanley Cup playoffs by the Carolina Hurricanes. Nieuwendyk reached two offensive milestones in 2002-03. He scored his 500th career goal on January 17, 2003, against Carolina's Kevin Weekes. On February 23, he scored his 1,000th point in a win over the Pittsburgh Penguins. He and the Devils reached the 2003 Stanley Cup Finals, but Nieuwendyk suffered a hip injury in the sixth game of the Eastern Conference Final that prevented him from appearing in the championship series. The Devils defeated the Mighty Ducks of Anaheim in the final, capturing the franchise's third Stanley Cup. For Nieuwendyk, it was his third title with his third different team. The Toronto Maple Leafs signed Nieuwendyk to a one-year contract for the 2003-04 season. He scored 22 goals for Toronto in a season marred by abdominal and back injuries that limited him to 64 games played, and a groin injury that forced him out of the lineup for much of Toronto's second-round series loss to the Philadelphia Flyers. He signed another one-year deal for 2004-05, but the season was cancelled due to a labour dispute that was feared would mark the end of the 38-year-old Nieuwendyk's career. When NHL play resumed in 2005-06, the Florida Panthers sought to bolster their lineup with veteran players. They signed both Nieuwendyk and Roberts, who had played together in Calgary and Toronto and wanted to finish their careers together, to two-year, $4.5 million contracts. Nieuwendyk appeared in 65 games during the season, scoring 26 goals and 56 points. He appeared in 15 games in 2006-07 before chronic back pain forced him onto injured reserve. After missing 14 games, Nieuwendyk announced his retirement on December 7, 2006. CANNOTANSWER | When NHL play resumed in 2005-06, the Florida Panthers sought to bolster their lineup with veteran players. | Joseph Nieuwendyk ( ; born September 10, 1966) is a Canadian former National Hockey League (NHL) player. He was a second round selection of the Calgary Flames, 27th overall, at the 1985 NHL Entry Draft and played 20 seasons for the Flames, Dallas Stars, New Jersey Devils, Toronto Maple Leafs, and Florida Panthers. He is one of only 11 players in NHL history to win the Stanley Cup with three or more different teams, winning titles with Calgary in 1989, Dallas in 1999 and New Jersey in 2003. A two-time Olympian, Nieuwendyk won a gold medal with Team Canada at the 2002 winter games. He was inducted into the Hockey Hall of Fame in 2011 and his uniform number 25 was honoured by the Flames in 2014. Joe Nieuwendyk was inducted into the Ontario Sports Hall of Fame in 2014. In 2017 Nieuwendyk was named one of the '100 Greatest NHL Players' in history.
An accomplished box lacrosse player, Nieuwendyk led the Whitby Warriors to the 1984 Minto Cup national junior championship before focusing exclusively on hockey. He played university hockey with the Cornell Big Red where he was a two-time All-American. He won the Calder Memorial Trophy as NHL rookie of the year in 1988 after becoming only the second first-year player to score 50 goals. He was a four-time All-Star, won the King Clancy Memorial Trophy in 1995 for his leadership and humanitarian work, and was named the Conn Smythe Trophy winner in 1999 as most valuable player of the postseason. Nieuwendyk played 1,257 games in his career, scoring 564 goals and 1,126 points.
Chronic back pain forced Nieuwendyk's retirement as a player in 2006. He then began a new career in management, acting first as a consultant to the general manager with the Panthers before moving onto the Maple Leafs where he was an assistant to the general manager. Nieuwendyk was the general manager of the Dallas Stars between 2009 and 2013. He most recently worked as a pro scout and advisor for the Carolina Hurricanes, until resigning his contract April 30, 2018.
Early life
Nieuwendyk was born September 10, 1966 in Oshawa, Ontario, and grew up in Whitby. He is the youngest of four children to Gordon and Joanne Nieuwendyk, who immigrated to Canada from the Netherlands in 1958. Gordon owned a car repair shop in Whitby. Joe grew up in a sporting family. His brother Gil was a box lacrosse player, while his uncle Ed Kea and cousin Jeff Beukeboom also played in the National Hockey League (NHL). His best friend growing up was future NHL teammate Gary Roberts.
He played both hockey and lacrosse growing up and the latter considered his better sport. At one point, Nieuwendyk was considered the top junior lacrosse player in Canada. He earned a spot with the Whitby Warriors junior A team at the age of 15, and was named the most valuable player of the Minto Cup tournament in 1984 when he led the Warriors to the national championship. The Ontario Lacrosse Association later named its junior A rookie of the year award after Nieuwendyk.
Playing career
College
Nieuwendyk went undrafted by any Ontario Hockey League team, and so played a season of junior B for the Pickering Panthers in 1983–84. Eligible for the 1984 NHL Entry Draft but unselected, he chose to attend Cornell University where he played hockey and lacrosse for the Big Red. He was named the Eastern College Athletic Conference (ECAC) hockey rookie of the year in 1984–85 after scoring 39 points in 23 games. At the 1985 NHL Entry Draft, the Calgary Flames selected him in the second round, 27th overall, with a pick obtained that day in a trade with the Minnesota North Stars for Kent Nilsson. The disappointment in Calgary over the trade of Nilsson resulted in some criticism of Nieuwendyk's selection, famously leading to a local newspaper to question the moves with the headline "Joe Who?"
Returning to Cornell for the 1985–86 season, Nieuwendyk chose to give up lacrosse in order to focus on hockey. He was named an ECAC first team All-Star in 1985–86 and an NCAA All-American after scoring 42 points in 21 games. In his final season at Cornell, he was named the team's most valuable player and led the ECAC in scoring with 52 points. He was again named an ECAC All-Star and NCAA All-American, and a finalist for the 1987 Hobey Baker Award.
Nieuwendyk chose to forgo his senior year in favour of turning professional. In 81 games with Cornell, Nieuwendyk scored 73 goals and 151 points, both among the highest totals in the school's history. His number 25 jersey was retired by Cornell in 2010, shared with Ken Dryden's number 1 as the first such numbers retired by the hockey team, and believed the first in any sport in the school's varsity sports history. In 2011, he was named one of the 50 greatest players in ECAC history.
Calgary Flames
Once his junior season at Cornell ended, Nieuwendyk joined the national team for five games before turning professional with the Flames. He made his NHL debut on March 10, 1987, against the Washington Capitals and scored his first NHL goal against goaltender Pete Peeters. He appeared in nine regular season games in the 1986–87 NHL season, scoring five goals and one assist, and appeared in six playoff games. Playing his first full season in 1987–88, Nieuwendyk captured the attention of the sports media by scoring 32 goals in his first 42 games to put him on a pace to surpass Mike Bossy's rookie record of 53 goals. Nieuwendyk finished two goals short of Bossy's record, but led the team with 51 goals and was the second first-year player to score at least 50 goals in one season. He played in his first NHL All-Star Game, was named to the All-Rookie Team and was voted the winner of the Calder Memorial Trophy as the NHL's top rookie.
Nieuwendyk again scored 51 goals in 1988–89 and marked the 100th of his career in his 144th career game. At the time, he was the third fastest player to reach the milestone, behind Bossy (129 games) and Maurice Richard (134 games), and was the third player in league history to score 50 goals in each of his first two seasons (Bossy and Wayne Gretzky). He led the league with 11 game-winning goals and set a Flames franchise record on January 11, 1989, when he scored five goals in one game against the Winnipeg Jets. Nieuwendyk appeared in his second of three-consecutive All-Star Games. In the 1989 Stanley Cup playoffs, he scored 10 goals and four assists to help the Flames win their first- and only -Stanley Cup championship in franchise history. In the clinching game against the Montreal Canadiens, Nieuwendyk set up Lanny McDonald's final NHL goal with a quick pass after receiving the puck from Håkan Loob.
A 45-goal season in 1989–90 was enough for Nieuwendyk to lead the team in goal scoring for the third consecutive season. He missed he first 11 games of the 1991–92 NHL season after suffering a knee injury during a summer evaluation camp for the 1991 Canada Cup. Nieuwendyk began the season as the 12th captain in the Flames franchise history. He was limited to 22 goals and 56 points on the season, but scored his 200th career goal on December 3, 1991, against the Detroit Red Wings. His 230th career goal, scored against the Tampa Bay Lightning on November 13, 1992, established a Flames franchise record for career goals (since broken).
Nieuwendyk entered the 1995–96 season unhappy with his contract status. Unable to come to terms with the Flames, he had gone to arbitration, and was awarded a contract worth C$1.85 million, but insisted on renegotiating the deal into a long-term contract extension. He refused an offer of a three-year, $6 million contract from the Flames, and as the dispute dragged on, chose not to join the team when the season began. He remained a holdout until December 19, 1995, when the Flames traded him to the Dallas Stars in exchange for Jarome Iginla and Corey Millen.
Dallas Stars
The Stars immediately signed Nieuwendyk to a new deal worth US$11.3 million over five years. Bob Gainey, the team's general manager, hoped that the acquisition of Nieuwendyk would help the franchise, which had relocated from Minnesota three years previous, establish its place in Dallas. Nieuwendyk scored 14 goals and 32 points in 52 games with the Stars to finish the 1995–96 season.
Nieuwendyk improved to 30 goals in 1996–97 despite missing the first month of the season with fractured rib cartilage. A 39-goal season followed, but he was again sidelined by injury after appearing in only one game of the 1998 Stanley Cup playoffs. In the opening game of the Stars' first-round series against the San Jose Sharks, he suffered a torn ACL as a result of a check by Bryan Marchment. The injury required two knee surgeries to repair and six months to heal, which caused him to miss the beginning of the 1998–99 NHL season.
He finished the regular season with 28 goals and 55 points in 67 games, and added 11 goals and 10 assists in the 1999 Stanley Cup playoffs to help the Stars win the first Stanley Cup in their franchise history. Six of his playoff goals were game winners, and he was voted the winner of the Conn Smythe Trophy as most valuable player of the playoffs. Injuries again limited Nieuwendyk in 1999–2000. He missed ten games due to a bruised chest then suffered a separated shoulder a week after his return that kept him out of the lineup for several weeks. He played only 47 regular season games, but added 23 more in the playoffs as the Stars reached the 2000 Stanley Cup Finals. They lost the series in six games to the New Jersey Devils, however.
Nieuwendyk played in his 1,000th career game on January 20, 2002, against the Chicago Blackhawks. Two months later, on March 19, 2002, he was traded to the Devils, along with Jamie Langenbrunner, in exchange for Jason Arnott, Randy McKay and a first round selection in the 2002 NHL Entry Draft.
New Jersey, Toronto and Florida
New Jersey, who had won the Stanley Cup in 2000 and reached the finals the following year, acquired Nieuwendyk for their playoff run in 2002. He scored 11 points in 14 regular season games for the Devils following the trade, but New Jersey was eliminated in the first round of the 2002 Stanley Cup playoffs by the Carolina Hurricanes. Nieuwendyk reached two offensive milestones in 2002–03. He scored his 500th career goal on January 17, 2003, against Carolina's Kevin Weekes. On February 23, he scored his 1,000th point in a win over the Pittsburgh Penguins. He and the Devils reached the 2003 Stanley Cup Finals, but Nieuwendyk suffered a hip injury in the sixth game of the Eastern Conference Final that prevented him from appearing in the championship series. The Devils defeated the Mighty Ducks of Anaheim in the final, capturing the franchise's third Stanley Cup. For Nieuwendyk, it was his third title with his third different team.
The Toronto Maple Leafs signed Nieuwendyk to a one-year contract for the 2003–04 season. He scored 22 goals for Toronto in a season marred by abdominal and back injuries that limited him to 64 games played. After scoring two goals in the decisive Game 7 opening round series victory against the Ottawa Senators, a groin injury that forced him out of the lineup for much of Toronto's second-round series loss to the Philadelphia Flyers. He signed another one-year deal for 2004–05, but the season was cancelled due to a labour dispute that was feared would mark the end of the 38-year-old Nieuwendyk's career.
When NHL play resumed in 2005–06, the Florida Panthers sought to bolster their lineup with veteran players. They signed both Nieuwendyk and Roberts, who had played together in Calgary and Toronto and wanted to finish their careers together, to two-year, $4.5 million contracts. Nieuwendyk appeared in 65 games during the season, scoring 26 goals and 56 points. He appeared in 15 games in 2006–07 before chronic back pain forced him onto injured reserve. After missing 14 games, Nieuwendyk announced his retirement on December 7, 2006.
International play
As a member of the Canadian national junior team at the 1986 World Junior Ice Hockey Championships, Nieuwendyk scored five goals in seven games to help Canada win a silver medal. His 12 points in the tournament tied him for third in scoring for Team Canada and fourth overall in the tournament. One year later, Nieuwendyk joined the senior national team for the Calgary Cup, a four-team exhibition tournament that served as a preview event for the 1988 Winter Olympics. He scored a goal in each of the first two games, losses to the United States and Czechoslovakia, for the Canadian team that won the bronze medal. He joined the senior team again for the 1990 Men's World Ice Hockey Championships, but appeared in only one game after suffering a knee injury. He was invited to Team Canada's summer camp for the 1991 Canada Cup tournament but suffered a knee injury that caused him to miss the entire tournament.
NHL players were first allowed to participate in the Olympic ice hockey tournament in 1998. Nieuwendyk was among the players named to join Canada's "dream team". He scored two goals and three assists in six games, but was one of several Canadian players stopped by Czech goaltender Dominik Hašek in a shootout loss in the semifinals. Canada then dropped a 3–2 decision to Finland to finish fourth. Nieuwendyk played alongside Brendan Shanahan and Theoren Fleury on Canada's checking line at the 2002 Olympic tournament. He scored one goal and helped Canada win its first Olympic hockey gold medal in 50 years.
Playing style
Cliff Fletcher, who drafted him into the NHL, described Nieuwendyk as being a "pre-eminent two-way guy who had 50-goal seasons", adding that "he had a great stick around the net, he had a great shot, he saw the ice well, he could skate, he had the size – he had everything you needed to have. History has indicated that wherever he went, the team was competitive. The more that was on the line in big games, the better Joe played." He was an offensive centre in Calgary and power play specialist, able to withstand the physical punishment required to stand in front of the net and battle defencemen for the puck. He led the NHL in power play goals in 1987–88 with 31 and finished in the top ten on four other occasions. Wayne Gretzky, who also played box lacrosse in his youth, argued that the skills Nieuwendyk learned dodging opposing players in that sport aided his development as a hockey player. Nieuwendyk was regarded as a top faceoff man, a skill that Team Canada relied on during the Olympics. He was a checking-line centre at the 2002 Olympics, relied on for his defensive and faceoff abilities.
Nieuwendyk was regarded as a leader throughout his career. He was the captain of the Flames for four seasons, and his teammates in Dallas praised him as a player who would help guide the younger players as they began their careers. His presence was considered an important factor in New Jersey's 2003 Stanley Cup championship. Devils' general manager Lou Lamoriello praised his impact both on and off the ice: "Certainly (the tangibles were) the quality player he was even at that time, how good he was defensively as well as always finding a way to get big goals. It was also about how good he was on faceoffs. And the intangibles, which are really more tangible than anything, are what he brought in the locker room from leadership and unselfishness. It was obvious that when he didn't play he was still so active in his support. He's genuine in every sense of the word. He was a true team player." Nieuwendyk was inducted into the Hockey Hall of Fame in 2011, and his uniform number 25 was honoured by the Calgary Flames on March 7, 2014, as he was named to the organization's "Forever a Flame" program.
Management career
Remaining in hockey following the end of his playing career, Nieuwendyk joined the Florida Panthers' front office as a consultant to general manager Jacques Martin in 2007. He left the Panthers after one year to join the Maple Leafs as special assistant to general manager Cliff Fletcher in 2008. He served as assistant general manager for the silver-medal winning Canadian national team at the 2009 World Championships, and on June 1, 2009, was named general manager of the Dallas Stars. His ability to make moves was at times limited by the financial difficulty of team owner Tom Hicks. Among Nieuwendyk's decisions in his first two seasons as general manager was to allow popular former captain Mike Modano to leave the organization after 22 years with the franchise in 2010. Nieuwendyk stated such moves were difficult, as he played with Modano and considered him a friend. Nieuwendyk was released as Stars' general manager at the conclusion of the 2012–13 NHL season as team owner Tom Gaglardi stated that the team wanted to "take this organization in a different direction". On September 3, 2014, the Carolina Hurricanes announced they had hired him as a pro scout and advisor. He resigned from his position with Carolina on April 30, 2018.
Personal life
Nieuwendyk and his wife Tina have three children: daughters Tyra and Kaycee and son Jackson. In 1995, while a member of the Flames, Nieuwendyk won the King Clancy Memorial Trophy given annually to the player "who best exemplifies leadership qualities on and off the ice and who has made a significant humanitarian contribution to his community". He was honoured by the league for his contributions to the Society for the Prevention of Cruelty to Animals (SPCA), and was a spokesman and honorary chairman of the Foothills Hospital Foundation. He remained active with the SPCA after his trade to Dallas, and following the September 11 attacks, organized a charity softball game that raised $115,000 for charitable groups in the aftermath of the attack. While a member of the Maple Leafs during the lockout, he participated in a charity hockey game organized by cancer survivor and former NHL player Keith Acton that raised $30,000 for cancer and leukemia charities in southern Ontario.
Career statistics
Regular season and playoffs
International
Awards and honours
References
External links
1966 births
Living people
Calder Trophy winners
Calgary Flames captains
Calgary Flames draft picks
Calgary Flames players
Canadian ice hockey centres
Canadian lacrosse players
Canadian people of Dutch descent
Carolina Hurricanes scouts
Conn Smythe Trophy winners
Cornell Big Red men's ice hockey players
Dallas Stars executives
Dallas Stars players
Florida Panthers executives
Florida Panthers players
Hockey Hall of Fame inductees
Sportspeople from Oshawa
Sportspeople from Whitby, Ontario
Ice hockey players at the 1998 Winter Olympics
Ice hockey players at the 2002 Winter Olympics
King Clancy Memorial Trophy winners
Medalists at the 2002 Winter Olympics
National Hockey League All-Stars
New Jersey Devils players
Olympic gold medalists for Canada
Olympic ice hockey players of Canada
Olympic medalists in ice hockey
Stanley Cup champions
Toronto Maple Leafs players
Ice hockey people from Ontario
AHCA Division I men's ice hockey All-Americans | false | [
"\"Do What You Do\" is a song by American R&B singer Jermaine Jackson, sibling of singers Michael and Janet Jackson and former member of The Jackson 5. It was released as the second single from his 1984 album, entitled Jermaine Jackson in the United States but marketed as Dynamite in the United Kingdom and other countries.\n\nThis was one of Jermaine's first releases with Arista Records after a long recording career with Motown Records, first as a member of The Jackson 5, then later as a solo artist. Although Jermaine Jackson never achieved the same level of solo success as sister Janet or brother Michael, \"Do What You Do\" was one of six top 20 solo hits on the Billboard Hot 100 chart for the singer. The song peaked at No. 13 on the Hot 100, No. 14 on the Billboard R&B chart, and spent three weeks atop the Billboard adult contemporary chart. In Canada it peaked on the RPM Top Singles chart at No. 29. The song was one of Jackson's biggest hits in the UK, where it reached No. 6 on the UK Singles Chart.\n\nIn the ballad, Jackson is requesting that his lover continue with certain enjoyable events they have both experienced in the past: Why don't you do what you do / when you did what you did to me?\n\nSamples and covers\nThe song was sampled by Lil Wayne for \"How Could Something\" and by Chamillionaire for \"Void In My Life\".\n\nMusic video\nThe music video was an imitation of The Godfather and supermodel Iman played Jackson's love interest who eventually betrays him by trying to shoot him. After his henchmen take her away, it is not revealed what happened to her.\n\nCharts\n\nWeekly charts\n\nYear-end charts\n\nCertifications\n\nSee also\n List of number-one adult contemporary singles of 1984 (U.S.)\n\nReferences\n\n1984 singles\nJermaine Jackson songs\nMusic videos directed by Bob Giraldi\nContemporary R&B ballads\n1984 songs\n1980s ballads",
"Kwaku Dua II. Kumaa (also Kwaku Dwa II. Kumaa, 1884) was from April 28, 1884 to June 11, 1884 the Asantehene (ruler) of the Kingdom of Ashanti in what is today Ghana.\n\nHis reign did not last a quarter of a year when he died of smallpox. His sudden death triggered a period of several years of civil war, which only ended in 1888 when his successor Agyeman Prempeh I took office.\n\nLiterature \n\n Basil Davidson: A History of West Africa. 1000 – 1800. New revised edition, 2nd impression. Longman, London 1977, (The Growth of African Civilisation).\n\n1884 deaths\nAshanti monarchs\n19th-century monarchs in Africa"
]
|
[
"Alice in Chains",
"Jar of Flies (1993-1994)"
]
| C_68e092ce2d2f47e9ba7736c8e2acfae9_0 | What is the Jar of Flies? | 1 | What is the Jar of Flies? | Alice in Chains | Following Alice in Chains' extensive 1993 world tour, Staley said the band "just wanted to go into the studio for a few days with our acoustic guitars and see what happened". "We never really planned on the music we made at that time to be released. But the record label heard it and they really liked it. For us, it was just the experience of four guys getting together in the studio and making some music." Columbia Records released Alice in Chains' second acoustic-based EP, Jar of Flies, on January 25, 1994. Written and recorded in one week, Jar of Flies debuted at number one on the Billboard 200, becoming the first EP--and first Alice in Chains release--to top the charts. Paul Evans of Rolling Stone called the EP "darkly gorgeous", and Steve Huey said, "'Jar of Flies' is a low-key stunner, achingly gorgeous and harrowingly sorrowful all at once". Jar of Flies features Alice in Chains' first number-one single on the Mainstream Rock charts, "No Excuses". The second single, "I Stay Away", reached number ten on the Mainstream rock charts, while the final single "Don't Follow", reached number 25. Jar of Flies has been certified triple platinum by the RIAA, with over 2 million copies sold in the United States during its first year. After the release of Jar of Flies, Staley entered rehab for heroin addiction. The band was scheduled to tour during the summer of 1994 with Metallica, Suicidal Tendencies, Danzig, and Fight, as well as a slot during Woodstock '94, but while in rehearsal for the tour, Staley began using heroin again. Staley's condition prompted the other band members to cancel all scheduled dates one day before the start of the tour, putting the band on hiatus. Alice in Chains was replaced by Candlebox on the tour. Susan Silver's management office sent out a statement saying that the decision to withdraw from the Metallica tour and Woodstock was "due to health problems within the band." The band broke up for six months. Kinney told Rolling Stone in 1996, "Nobody was being honest with each other back then. If we had kept going, there was a good chance we would have self-destructed on the road, and we definitely didn't want that to happen in public." CANNOTANSWER | Columbia Records released Alice in Chains' second acoustic-based EP, Jar of Flies, on January 25, 1994. | Alice in Chains (often abbreviated as AIC) is an American rock band from Seattle, Washington, formed in 1987 by guitarist and vocalist Jerry Cantrell and drummer Sean Kinney, who later recruited bassist Mike Starr and lead vocalist Layne Staley. Starr was replaced by Mike Inez in 1993. William DuVall joined the band in 2006 as co-lead vocalist and rhythm guitarist, replacing Staley, who died in 2002. The band took its name from Staley's previous group, the glam metal band Alice N' Chains.
Often associated with grunge music, Alice in Chains' sound incorporates heavy metal elements. The band is known for its distinctive vocal style, which often included the harmonized vocals between Staley and Cantrell (and later Cantrell and DuVall). Cantrell started to sing lead vocals on the 1992 acoustic EP Sap, and his role continued to grow in the following albums, making Alice in Chains a two-vocal band.
Alice in Chains rose to international fame as part of the grunge movement of the early 1990s, along with other Seattle bands such as Nirvana, Pearl Jam, and Soundgarden. They achieved success during the era with the albums Facelift (1990), Dirt (1992), Alice in Chains (1995), as well as the EP Jar of Flies (1994). Although never officially disbanding, Alice in Chains was plagued by extended inactivity from 1996 onward, due to Staley's substance abuse, which resulted in his death in 2002. The band regrouped in 2006, with DuVall taking over as lead vocalist full-time, and they have since released three more albums: Black Gives Way to Blue (2009), The Devil Put Dinosaurs Here (2013), and Rainier Fog (2018).
Alice in Chains have sold over 30 million records worldwide, and over 14 million records in the US alone. The band has had 18 Top 10 songs on Billboard's Mainstream Rock Tracks chart, 5 No. 1 hits, and received 11 Grammy Award nominations. The band was ranked number 34 on VH1's 100 Greatest Artists of Hard Rock and was ranked as the 15th greatest live band by Hit Parader. Since its formation, Alice in Chains has released six studio albums, three EPs, three live albums, four compilations, two DVDs, 43 music videos, and 32 singles.
History
1984–1989: Formation and early years
Before the formation of Alice in Chains, then-drummer Layne Staley landed his first gig as a vocalist when he auditioned to sing for a local glam metal band known as Sleze after receiving some encouragement from his stepbrother Ken Elmer. Other members of this group at that time were guitarists Johnny Bacolas and Zoli Semanate, drummer James Bergstrom, and bassist Byron Hansen. This band went through several lineup changes culminating with Nick Pollock as their sole guitarist and Bacolas switching to bass before discussions arose about changing their name to Alice in Chains. This was prompted by a conversation that Bacolas had with Russ Klatt, the lead singer of Slaughter Haus 5, about backstage passes. One of the passes said "Welcome to Wonderland", and they started talking about that being a reference to Alice in Wonderland, until Klatt said, "What about Alice in Chains? Put her in bondage and stuff like that." Bacolas thought the name "Alice in Chains" was cool and brought it up to his Sleze bandmates and everyone liked it, so they decided to change the name of the band. Due to concerns over the reference to female bondage, the group ultimately chose to spell it differently as Alice N' Chains to allay any parental concerns, though Staley's mother Nancy McCallum has said she was still not happy with this name at first. According to Bacolas, the decision to use the apostrophe-N combination in their name had nothing to do with the Los Angeles band Guns N' Roses. The name change happened in 1986, a year before Guns N' Roses became a household name with their first album Appetite for Destruction, released in July 1987.
Staley met guitarist Jerry Cantrell at a party in Seattle around August 1987. A few months prior, Cantrell had watched a concert of Alice N' Chains in his hometown at the Tacoma Little Theatre, and was impressed by Staley's voice. Cantrell was homeless after being kicked out of his family's house, so Staley invited Cantrell to live with him at the rehearsal studio Music Bank, and the two struggling musicians became roommates.
Alice N' Chains soon disbanded, and Staley joined a funk band. Cantrell's band, Diamond Lie, broke up and he wanted to form a new band, so Staley gave him the phone number of Melinda Starr, the girlfriend of drummer Sean Kinney, so that Cantrell could talk to him. Cantrell called the number and set up a meeting with Kinney. Kinney and his girlfriend went to the Music Bank and listened to Cantrell's demos, who mentioned that they needed a bass player to jam with them, and he had someone in mind: Mike Starr, with whom Cantrell had played in a band in Burien called Gypsy Rose. Kinney then mentioned that his girlfriend was actually Mike Starr's sister, and that he had been playing in bands together with Starr since they were kids. Kinney called Starr and a few days later he started jamming with him and Cantrell at the Music Bank, but they didn't have a singer.
Staley's funk band also required a guitarist at the time, and Staley asked Cantrell to join as a sideman. Cantrell agreed on condition that Staley join his band. Because Cantrell, Starr and Kinney wanted Staley to be their lead singer, they started auditioning terrible lead singers in front of Staley to send a hint. The last straw for Staley was when they auditioned a male stripper – he decided to join the band after that. Eventually the funk project broke up, and in 1987 Staley joined Cantrell's band on a full-time basis. Two weeks after the band's formation, they were playing a gig at Washington State University, trying to fill out a 40-minute set with a couple of original songs along with Hanoi Rocks and David Bowie covers.
The band played a couple of gigs in clubs around the Pacific Northwest, calling themselves different monikers, including Diamond Lie, the name of Cantrell's previous band, and "Fuck", before eventually adopting the name that Staley's previous band had initially flirted with, Alice in Chains. Staley contacted his former bandmates and asked for permission to use the name. Nick Pollock wasn't particularly thrilled about it at the time and thought he should come up with a different name, but ultimately both he and James Bergstrom gave Staley their blessing to use the name.
Local promoter Randy Hauser became aware of the band at a concert and offered to pay for demo recordings. However, one day before the band was due to record at the Music Bank studio in Washington, police shut down the studio during the biggest cannabis raid in the history of the state. The final demo, completed in 1988, was named The Treehouse Tapes and found its way to music managers Kelly Curtis and Susan Silver, who also managed the Seattle-based band Soundgarden. Curtis and Silver passed the demo on to Columbia Records' A&R representative Nick Terzo, who set up an appointment with label president Don Ienner. Based on The Treehouse Tapes, Terzo signed Alice in Chains to Columbia in 1989. The band also recorded another untitled demo over a three-month period in 1989. This recording can be found on the bootleg release Sweet Alice.
1990–1992: Facelift and Sap
Alice in Chains soon became a top priority of the label, which released the band's first official recording in July 1990, a promotional EP called We Die Young. The EP's lead single, "We Die Young", became a hit on metal radio. After its success, the label rushed Alice in Chains' debut album into production with producer Dave Jerden. Cantrell stated the album was intended to have a "moody aura" that was a "direct result of the brooding atmosphere and feel of Seattle."
The resulting album, Facelift, was released on August 21, 1990, peaking at number 42 in the summer of 1991 on the Billboard 200 chart. Facelift was not an instant success, selling under 40,000 copies in the first six months of release, until MTV added "Man in the Box" to regular daytime rotation. The single hit number 18 on the Mainstream rock charts, with the album's follow up single, "Sea of Sorrow", reaching number 27, and in six weeks Facelift sold 400,000 copies in the US. The album was a critical success, with Steve Huey of AllMusic citing Facelift as "one of the most important records in establishing an audience for grunge and alternative rock among hard rock and heavy metal listeners." Sammy Hagar claimed he invited the band to tour with Van Halen after he saw the music video for "Man In The Box" on MTV.
Facelift was certified gold by the Recording Industry Association of America (RIAA) for selling a half-million copies on September 11, 1991, becoming the first album from Seattle's Grunge movement to be certified gold. The band continued to hone its audience, opening for such artists as Iggy Pop, Van Halen, Poison, and Extreme. Facelift has since been certified triple-platinum by the RIAA, for shipments of three million copies in the United States.
The concert at the Moore Theatre in Seattle on December 22, 1990, was recorded and released on VHS on July 30, 1991, as Live Facelift. It features five live songs and three music videos. The home video has been certified gold by the RIAA for sales exceeding 50,000 copies.
In early 1991, Alice in Chains landed the opening slot for the Clash of the Titans tour with Anthrax, Megadeth, and Slayer, exposing the band to a wide metal audience but receiving mainly poor reception. Alice in Chains was nominated for a Best Hard Rock Performance Grammy Award in 1992 for "Man in the Box" but lost to Van Halen for their 1991 album For Unlawful Carnal Knowledge.
Following the tour, Alice in Chains entered the studio to record demos for its next album, but ended up recording five acoustic songs instead. While in the studio, drummer Sean Kinney had a dream about "making an EP called Sap". The band decided "not to mess with fate", and on February 4, 1992, Alice in Chains released their second EP, Sap. The EP was released while Nirvana's Nevermind was at the top of the Billboard 200 charts, resulting in a rising popularity of Seattle-based bands, and of the term "grunge music". Sap was certified gold within two weeks. The EP features Cantrell on lead vocals on the opening track, "Brother", and guest vocals by Ann Wilson from the band Heart, who joined Staley and Cantrell for the choruses of "Brother" and "Am I Inside". The EP also features Mark Arm of Mudhoney and Chris Cornell of Soundgarden, who shared vocals with Staley and Cantrell on the song "Right Turn", credited to "Alice Mudgarden" in the liner notes.
In 1992, Alice in Chains appeared in the Cameron Crowe film Singles, performing as a "bar band". The band also contributed the song "Would?" to the film's soundtrack, whose video received an award for Best Video from a Film at the 1993 MTV Video Music Awards.
1992–1993: Dirt
In March 1992, the band returned to the studio. With new songs written primarily on the road, the material has an overall darker feel than Facelift, with six of the album's thirteen songs dealing with the subject of addiction. "We did a lot of soul searching on this album. There's a lot of intense feelings." Cantrell said, "We deal with our daily demons through music. All of the poison that builds up during the day we cleanse when we play."
On September 29, 1992, Alice in Chains released its second album, Dirt. The album peaked at number six on the Billboard 200 and since its release has been certified quadruple platinum by the RIAA, making Dirt the band's highest selling album to date. The album was a critical success, with Steve Huey of Allmusic praising the album as a "major artistic statement, and the closest they ever came to recording a flat-out masterpiece." Chris Gill of Guitar World called Dirt "huge and foreboding, yet eerie and intimate", and "sublimely dark and brutally honest."
Dirt spawned five singles that reached the top 30 on the Billboard Mainstream Rock chart: "Would?", "Rooster", "Them Bones", "Angry Chair", and "Down in a Hole", and remained on the charts for nearly two years. Alice in Chains was added as openers to Ozzy Osbourne's No More Tours tour. Days before the tour began, Layne Staley broke his foot in an ATV accident, forcing him to use crutches on stage.
Starr left the band shortly after the Hollywood Rock concert in Rio de Janeiro on January 22, 1993, stating that he wanted to spend more time with his family. Staley told Rolling Stone in 1994 about Starr leaving the band, "It was just a difference in priorities. We wanted to continue intense touring and press. Mike was ready to go home." Years later, Starr claimed that he was fired due to his drug addiction.
Starr was replaced by former Ozzy Osbourne bassist Mike Inez. Inez had met Alice in Chains during Ozzy Osbourne's No More Tours tour and became friends with them. When the band was in Brazil, they called Inez to join them and he accepted. Inez wanted to do the shows in Brazil and even got his immunization shots, but the band called him back telling that Starr wanted to do the last two shows in Brazil, so they would meet Inez in London instead. Inez ended up getting sick with his vaccination shots for a couple of days. Inez played his first concert with Alice in Chains on January 27, 1993, at the Camden Underworld in London.
In April 1993, the band recorded two songs with Inez, "What the Hell Have I" and "A Little Bitter", for the Last Action Hero soundtrack. During the summer of 1993, Alice in Chains toured with the alternative music festival Lollapalooza, their last major tour with Staley.
1993–1994: Jar of Flies
Following Alice in Chains' extensive 1993 world tour, Staley said the band "just wanted to go into the studio for a few days with our acoustic guitars and see what happened." "We never really planned on the music we made at that time to be released. But the record label heard it and they really liked it. For us, it was just the experience of four guys getting together in the studio and making some music."
Columbia Records released Alice in Chains' second acoustic-based EP, Jar of Flies, on January 25, 1994. Written and recorded in one week, Jar of Flies debuted at number one on the Billboard 200, becoming the first EP—and first Alice in Chains release—to top the charts.
Paul Evans of Rolling Stone called the EP "darkly gorgeous", and Steve Huey said, "'Jar of Flies' is a low-key stunner, achingly gorgeous and harrowingly sorrowful all at once." Jar of Flies features Alice in Chains' first number-one single on the Mainstream Rock charts, "No Excuses". The second single, "I Stay Away", reached number ten on the Mainstream rock charts, while the final single "Don't Follow", reached number 25. Jar of Flies has been certified triple platinum by the RIAA, with over 2 million copies sold in the United States during its first year. Jar of Flies received two Grammy nominations, Best Hard Rock Performance for "I Stay Away", and Best Recording Package.
After the release of Jar of Flies, Staley entered rehab for heroin addiction. The band was scheduled to tour during the summer of 1994 with Metallica, Suicidal Tendencies, Danzig, and Fight, as well as a slot during Woodstock '94, but while in rehearsal for the tour, Staley began using heroin again. Staley's condition prompted the other band members to cancel all scheduled dates one day before the start of the tour, putting the band on hiatus. Alice in Chains was replaced by Candlebox on the tour. Susan Silver's management office sent out a statement saying that the decision to withdraw from the Metallica tour and Woodstock was "due to health problems within the band."
The band broke up for six months. Kinney told Rolling Stone in 1996, "Nobody was being honest with each other back then. If we had kept going, there was a good chance we would have self-destructed on the road, and we definitely didn't want that to happen in public."
1995–1996: Alice in Chains
While Alice in Chains was inactive during 1995, Staley joined the "grunge supergroup" Mad Season, which also featured Pearl Jam guitarist Mike McCready, bassist John Baker Saunders from The Walkabouts, and Screaming Trees drummer Barrett Martin. Mad Season released one album, Above, for which Staley provided lead vocals and the album artwork. The album spawned a number-two Mainstream Rock chart single, "River of Deceit", as well as a home video release of Live at the Moore.
In April 1995, Alice in Chains entered Bad Animals Studio in Seattle with producer Toby Wright, who had previously worked with Corrosion of Conformity and Slayer. While in the studio, an inferior version of the song "Grind" was leaked to radio, and received major airplay. On October 6, 1995, the band released the studio version of the song to radio via satellite uplink to stem excessive spread of taped copies of the song.
On November 7, 1995, Columbia Records released the eponymous album, Alice in Chains, which debuted at number one on the Billboard 200 and has since been certified triple platinum. Of the album's four singles, "Grind", "Again", "Over Now", and "Heaven Beside You", three feature Cantrell on lead vocals. Jon Wiederhorn of Rolling Stone called the album "liberating and enlightening, the songs achieve a startling, staggering and palpable impact."
On December 12, 1995, the band released the home video The Nona Tapes, a mockumentary featuring interviews with the band members conducted by journalist Nona Weisbaum (played by Jerry Cantrell), and the music video for "Grind".
The song "Got Me Wrong" unexpectedly charted three years after its release on the Sap EP. The song was re-released as a single on the soundtrack for the independent film Clerks in 1994, reaching number seven on the Mainstream Rock Tracks chart. The band opted not to tour in support of Alice in Chains, adding to the rumors of drug abuse.
Alice in Chains resurfaced on April 10, 1996, to perform their first concert in two and a half years for MTV Unplugged, a program featuring all-acoustic set lists. The performance featured some of the band's highest-charting singles, including "Rooster", "Down in a Hole", "Heaven Beside You", "No Excuses" and "Would?", and introduced a new song, "Killer Is Me", with Cantrell on lead vocals. The show marked Alice in Chains' only appearance as a five-piece band, adding second guitarist Scott Olson. A live album of the performance was released in July 1996, debuting at number three on the Billboard 200, and was accompanied by a home video release, both of which received platinum certification by the RIAA. The band also made an appearance on The Late Show with David Letterman on May 10, 1996, performing the songs "Again" and "We Die Young".
Alice in Chains performed four shows supporting the reunited original Kiss lineup on their 1996–97 Alive/Worldwide Tour, including the final live appearance of Layne Staley on July 3, 1996, in Kansas City, Missouri. Shortly after the show, Staley was found unresponsive after he overdosed on heroin and was taken to the hospital. Although he recovered, the band was forced to go on hiatus.
1996–2004: Hiatus, side projects and death of Layne Staley
Although Alice in Chains never officially disbanded, Staley became a recluse, rarely leaving his Seattle condominium following the death of his ex-fiancée Demri Parrott due to a drug overdose on October 29, 1996. "Drugs worked for me for years," Staley told Rolling Stone in February 1996, "and now they're turning against me ... now I'm walking through hell and this sucks. I didn't want my fans to think that heroin was cool. But then I've had fans come up to me and give me the thumbs up, telling me they're high. That's exactly what I didn't want to happen.."
Unable to continue with new Alice in Chains material, Cantrell released his first solo album, Boggy Depot, in 1998, also featuring Sean Kinney and Mike Inez. Cantrell and Kinney were also featured on Metallica's 1998 album Garage Inc., both were guest musicians in the track "Tuesday's Gone", a cover of Lynyrd Skynyrd.
In October 1998, Staley reunited with Alice in Chains to record two new songs, "Get Born Again" and "Died". Originally intended for Cantrell's second solo album, the songs were reworked by Alice in Chains and were released in the fall of 1999 on the box set, Music Bank. The set contains 48 songs, including rarities, demos, and previously released album tracks and singles. The band also released a 15-track compilation titled Nothing Safe: Best of the Box, serving as a sampler for Music Bank, as well as the band's first compilation album; a live album, simply titled Live, released on December 5, 2000; and a second compilation, titled Greatest Hits in 2001.
In November 1998, Layne Staley recorded a cover of Pink Floyd's "Another Brick in the Wall" with the supergroup Class of '99, formed by guitarist Tom Morello of Rage Against the Machine, bassist Martyn LeNoble, drummer Stephen Perkins, both from Jane's Addiction and Porno for Pyros, and keyboardist Matt Serletic. The song was featured on the soundtrack to the 1998 horror/sci-fi film, The Faculty.
After they toured as part of Cantrell's solo band in 1998, Sean Kinney and Queensrÿche guitarist Chris DeGarmo formed a new band called Spys4Darwin. Mike Inez and Sponge lead vocalist Vin Dombroski joined the supergroup soon after. The band released their first and only album in 2001, a 6-track EP entitled Microfish. In June 2001, Mike Inez joined Zakk Wylde's Black Label Society for the remaining dates of Ozzfest, following the departure of bassist Steve Gibb due to medical reasons. Inez joined the band again for their West Coast and Japanese tour in 2003.
By 2002, Cantrell had finished work on his second solo album, Degradation Trip. Written in 1998, the album's lyrical content focused heavily on what Cantrell regarded as the demise of Alice in Chains, which still remained evident as the album approached its June 2002 release. However, in March that year, Cantrell commented, "We're all still around, so it's possible [Alice in Chains] could all do something someday, and I fully hope someday we will."
Reflecting on the band's hiatus in a 2011 interview, Kinney said that Staley wasn't the only one battling addiction. "He was the focal point, like singers are. So they'd single him out. But the truth was, it was pretty much everybody. I definitely had my hand firmly on the wheel going off the cliff. And the reason we pulled back – you know when you stop when you have two #1 records, it's not really the greatest career move – but we did that because we love each other and we didn't want to die in public. And I know for a fact in my heart that if we were to continue that I wouldn't be on the phone right now talking to you. I wouldn't have made it. I just wouldn't have."
After a decade of battling drug addiction, Layne Staley was found dead in his condominium in Seattle on April 19, 2002. The autopsy and toxicology report on Staley's body revealed that he died from a mixture of heroin and cocaine, known as "speedball". The autopsy concluded that Staley died on April 5, two weeks before his body was found. Cantrell dedicated his 2002 solo album, Degradation Trip, released two months after Staley's death, to his memory. Mike Starr later claimed on Celebrity Rehab that he was the last person to see Staley alive, and admitted to feeling guilty about not calling 911 after Staley had warned him against it. "I wish I hadn't been high on benzodiazepine [that night], I wouldn't have just walked out the door," Starr said.
Following Staley's death, Mike Inez joined Heart and toured and recorded with the band from 2002 through 2006. Jerry Cantrell collaborated with several artists such as Heart, Ozzy Osbourne, and Damageplan. In 2004, Cantrell formed the band Cardboard Vampyres along with The Cult guitarist Billy Duffy, Mötley Crüe and Ratt vocalist John Corabi, The Cult bassist Chris Wyse and drummer Josh Howser.
On October 22, 2004, Sony BMG terminated their contract with Alice in Chains, 15 years after the band signed with the label, in 1989.
2005–2008: Reunion shows and reformation
In 2005, Sean Kinney came up with the idea of doing a benefit concert for the victims of the tsunami disaster that struck South Asia in 2004. Kinney made calls to his former bandmates, as well as friends in the music community, such as former Alice in Chains manager Susan Silver. Kinney was surprised by the enthusiastic response to his idea. On February 18, 2005, Jerry Cantrell, Mike Inez, and Sean Kinney reunited to perform for the first time in nine years at K-Rock Tsunami Continued Care Relief Concert in Seattle. The band featured Damageplan vocalist Pat Lachman, as well as other special guests including Maynard James Keenan of Tool and Ann Wilson of Heart. A few months after that experience, the band called Susan Silver and Cantrell's manager Bill Siddons and said they wanted to tour as Alice in Chains again.
Alice in Chains was approached by the producers of the CBS reality show Rock Star about being featured on its second season, but the band turned the offer down. In the show, aspiring singers competed to become the lead vocalist of a featured group.
On March 10, 2006, the surviving members performed at VH1's Decades Rock Live concert, honoring fellow Seattle musicians Ann and Nancy Wilson of Heart. They played "Would?" with vocalist Phil Anselmo of Pantera and Down and bass player Duff McKagan of Guns N' Roses and Velvet Revolver, and at the end of the performance Cantrell dedicated the show to Layne Staley and the late Pantera and Damageplan guitarist Dimebag Darrell. They also played "Rooster" with Comes with the Fall vocalist William DuVall and Ann Wilson. The band followed the concert with a short United States club tour named "Finish What We Started", several festival dates in Europe, and a brief tour in Japan. Duff McKagan again joined the band for the reunion tour, playing rhythm guitar on selected songs. During the tour, the band played a 5-minute video tribute to Staley during the changeover from the electric to acoustic set.
To coincide with the band's reunion, Sony Music released the long-delayed third Alice in Chains compilation, The Essential Alice in Chains, a double album that includes 28 songs.
Jerry Cantrell met William DuVall in Los Angeles in 2000 through a mutual acquaintance who introduced Cantrell to Comes with the Fall's first album. Cantrell started hanging out with the band and occasionally joined them onstage. Between 2001 and 2002, Comes with the Fall was both the opening act on Cantrell's tour for his second solo album, Degradation Trip, and also his backing band, with DuVall singing Staley's parts at the concerts. DuVall joined Alice in Chains as lead singer during the band's reunion concerts in 2006, and made his first public performance with the band at VH1's Decades Rock Live concert. According to Cantrell, it only took one audition for DuVall to get the gig. For his first rehearsal with the band, DuVall sang "Love, Hate, Love". After they finished, Sean Kinney looked at his bandmates and said, "I think the search is pretty much over." According to Mike Inez, DuVall didn't try to emulate Staley, and that's what drew them to him.
Cantrell revealed that before he suggested DuVall for the band, Sean Kinney and Mike Inez invited Sponge and Spys4Darwin lead vocalist Vin Dombroski to jam with the band in their rehearsal space. Dombroski jammed with them to a couple of songs but they did not feel he was right for the band. According to Cantrell, Stone Temple Pilots and Velvet Revolver lead singer Scott Weiland was also interested in joining the band.
Cantrell explained the reunion saying, "We want to celebrate what we did and the memory of our friend. We have played with some [singers] who can actually bring it and add their own thing to it without being a Layne clone. We're not interested in stepping on [Staley's] rich legacy. It's a tough thing to go through. Do you take the Led Zeppelin approach and never play again, because the guy was that important? That's the approach we've taken for a lot of years. Or, do you give it a shot, try something? We're willing to take a chance on it. It's completely a reunion because the three of us who're left are back together. But it's not about separating and forgetting — it's about remembering and moving on." Before the tour, Kinney mentioned in an interview that he would be interested in writing new material, but not as Alice in Chains.
During the VH1 Rock Honors concert honoring Heart on May 12, 2007, Alice in Chains performed Heart's "Barracuda" fronted by country singer Gretchen Wilson. Heart's guitarist Nancy Wilson also joined them onstage.
Alice in Chains joined Velvet Revolver for a run of U.S. and Canadian gigs from August through October 2007. During that tour, the band also performed four special acoustic-only shows, named as "The Acoustic Hour". The acoustic performance at The Rave/Eagles Club in Milwaukee, Wisconsin on August 31, 2007, was recorded for an upcoming live album.
On November 2, 2007, Alice in Chains performed a four-song set at Benaroya Hall in Seattle for Matt Messina and the Symphony Guild's 10th anniversary benefit concert for the Seattle Children's Hospital & Regional Medical Center. In addition to the band's original material, they also played a cover of Led Zeppelin's "Kashmir" while backed by over 200 musicians, including the Northwest Symphony Orchestra and the Northwest Girlchoir.
Sean Kinney said about the band's reunion: "I never called Jerry; he never called me, and said, 'Hey, let's get the band back together,' you know? We had been taking every step extremely cautious and slow, and just doing whatever feels right: If it's genuine and we're doing it for genuine reasons and we're all okay with it then we take a little step. None of us is broke. Nobody needs to be a rock dork, and you know, stroke their ego. I mean, we don't really operate like that. So as long as it felt good and from the right place and it's about making music and carrying on…."
About the pressure being put on DuVall for replacing Staley as lead vocalist, Cantrell said, "To put all that weight on Will's shoulders is unfair. We're just figuring out how we work as a team. Although the band has changed, we've lost Layne, we've added Will, and there was no master plan. Playing again in 2005 felt right, so we did the next thing and toured. We did it step by step. It's more than just making music, and it always has been. We've been friends a long time. We've been more of a family than most, and it had to be okay from here," Cantrell said pointing to his heart.
Former The Doors manager Bill Siddons and his management company, Core Entertainment, co-managed Alice in Chains with original manager Susan Silver from 2005 to 2007.
The band started writing and demoing songs for a new album with DuVall in April 2007. But the band did not show further signs of progress until October 2008, when they announced that they had begun recording with producer Nick Raskulinecz in the studio.
2008–2011: Black Gives Way to Blue and death of Mike Starr
Blabbermouth.net reported on September 5, 2008, that Alice in Chains would enter the studio that October to begin recording a new album for a summer 2009 release. On September 14, 2008, Alice in Chains performed at halftime during the Seattle Seahawks vs San Francisco 49ers game at the CenturyLink Field (then-named Qwest Field) in Seattle. The 12-minute performance for a crowd of 67,000 people featured a cover of Led Zeppelin's "Kashmir" accompanied by the Northwest Symphony Orchestra.
In October 2008, Alice in Chains began recording its fourth studio album at the Foo Fighters' Studio 606 in Los Angeles with producer Nick Raskulinecz. The band did not have a record label at the time and the album was funded by Jerry Cantrell and Sean Kinney. At the Revolver Golden God Awards, Cantrell said that the group had finished recording on March 18, 2009, and were mixing the album for a September release. The recording process was completed on Cantrell's 43rd birthday and also the same day that William DuVall's son was born. In April 2009, it was reported that the new Alice in Chains album would be released by Virgin/EMI, making it the band's first label change in its 20-plus year career. Susan Silver, who started managing Alice in Chains in 1988, now co-manages the band with David Benveniste and his Velvet Hammer firm.
On June 11, 2009, Blabbermouth.net reported that the new album would be titled Black Gives Way to Blue and was officially set to be released on September 29, 2009. The title first appeared on Amazon.com without any prior announcement from the band. In addition, it was announced that Elton John plays piano on the title track, a tribute to Layne Staley written and sung by Cantrell. The album features new vocalist and rhythm guitarist William DuVall sharing vocal duties with lead guitarist/vocalist Jerry Cantrell, who sings lead vocals on most of the songs. DuVall sings lead vocals on the song "Last of My Kind".
On June 30, 2009, the song "A Looking in View" was made available for purchase via iTunes and Amazon, and for a limited time it was available as a free download through the official Alice in Chains website in early July. Although it was not the album's first radio single, Rock stations across the U.S. started playing the song. The music video for "A Looking in View" debuted via the band's official website on July 7, 2009. The song was nominated for a Grammy Award for Best Hard Rock Performance.
"Check My Brain" was released to radio stations as the first official single from the album on August 14, 2009, and was made available for purchase on August 17, 2009. The music video for "Check My Brain" premiered on September 14, 2009. The song was also nominated for a Grammy Award for Best Hard Rock Performance.
To promote the album, the band released an EPK featuring all four of the members being interviewed while the Kiss makeup is being applied on them. An app for iPhone was released on October 27, 2009, featuring songs, music videos, news, photos and networking.
Sean Kinney said about the new album and the fans' mixed reactions about the band moving on after Staley's death: "Look, it's a big move to fucking stand up and move on. Some people, the music connected with them so strongly, their opinions, how they feel about it ... It's amazing that they have such a connection but they seem to act like it happened to them. This happened to us and Layne's family, not them. This is actually our lives. If we're okay with it, why can't you be? This happened to us, this didn't happen to you. But this album isn't about that, it's a bigger universal point. We're all going to fucking die, we're all going to lose somebody, and it fucking hurts. How do you move on? This record is us moving on, and hurting. That, to me, is a victory. I already feel like I've won." "Sometimes people ask us, 'Wouldn't Layne have been pissed off that we did this?' And I tell them it would have been the opposite: he would have been pissed off that it took us so long to do this. We're not doing this for money; there is no money in the music business anymore. Jerry and I funded the whole album, and we spent lots of our own money, because we believe in this. And one of the reasons I'm doing this is so more light is turned on to something where the light was turned off." And Cantrell added: "We've toured around the world, we've lost some friends, we buried a dear friend, and somebody that you just can't fucking replace, and then we've chosen by circumstance to get together again. That turned into 'maybe we can fucking do this.' And that turned into this."
In September 2008, it was announced that Alice in Chains would headline Australia's Soundwave Festival in 2009, alongside Nine Inch Nails and Lamb of God. In February 2009, it was also announced that Alice in Chains would play at the third annual Rock on the Range festival. On August 1, 2009, Alice in Chains performed, along with Mastodon, Avenged Sevenfold, and Glyder, at Marlay Park, Dublin as direct support to Metallica. The band made an appearance on Later... with Jools Holland on November 10, 2009, performing "Lesson Learned", "Black Gives Way to Blue", and "Check My Brain" as the final performance of the episode.
To coincide with the band's European tour, Alice in Chains released its next single, "Your Decision", on November 16, 2009, in the UK and on December 1 in the US. The last single from the album was "Lesson Learned", and it was released to rock radio on June 22, 2010.
Black Gives Way to Blue debuted at No. 5 on the Billboard 200. On May 18, 2010, the album was certified gold by the RIAA for selling over 500,000 copies in the U.S. The singles "Check My Brain" and "Your Decision" reached No. 1 on Billboard's Mainstream Rock Tracks, while "Lesson Learned" reached No. 4. "Check My Brain" was also the band's first #1 song on the Alternative Songs chart, and on the Hot Rock Songs chart, it also reached No. 92 on Billboard's Hot 100, becoming the band's first single to appear on the chart.
Along with Mastodon and Deftones, Alice in Chains toured the United States and Canada in late 2010 on the Blackdiamondskye tour, an amalgam of the three bands' latest album titles (Black Gives Way to Blue, Diamond Eyes, and Crack the Skye).
On March 8, 2011, former Alice in Chains bassist Mike Starr was found dead at his home in Salt Lake City. Police told Reuters they were called to Starr's home at 1:42 pm and found his body; Starr was 44. Reports later surfaced that Starr's roommate had seen him mixing methadone and anxiety medication hours before he was found dead. Later reports indicated Starr's death may have been linked to two different types of antidepressants prescribed to him by his doctor. A public memorial was held for Starr at the Seattle Center's International Fountain on March 20, 2011. A private memorial was also held, which Jerry Cantrell and Sean Kinney attended according to Mike Inez.
2011–2016: The Devil Put Dinosaurs Here
On March 21, 2011, Alice in Chains announced that they were working on a fifth studio album, and both Cantrell and Inez later made statements that they had begun the recording process. The album was expected to be finished by summer of 2012 and released by the end of 2012 or beginning of 2013. While Alice in Chains were writing for the album in 2011, Cantrell underwent surgery on his right shoulder, which delayed recording the new material. In an interview published in May 2012, Cantrell explained, "The thing that set me back is I had some bone spurs [and] cartilage issues in my shoulders. I had the same issue in the other shoulder about six years ago so I've had them both done now. It's a repetitive motion injury from playing." Cantrell could not play guitar for eight months while he was recovering from surgery. While recuperating at home in a sling, Cantrell heard a riff in his head and sang it into his phone. The riff later became the song "Stone".
Alice in Chains played their first concert in nearly 10 months and their first concert after Cantrell's shoulder surgery at the Winstar Casino in Thackerville, Oklahoma on August 13, 2011. The band's only concert in 2012 was a five-song acoustic set on May 31 at the eighth annual MusiCares MAP Fund Benefit Concert honoring Jerry Cantrell.
On December 4, 2012, Cantrell confirmed that the new album had been completed. The first single, "Hollow", debuted online on December 18, available for digital download in January 2013, along with an official music video. On February 13, 2013, Alice in Chains posted on Facebook that their new album title would be an anagram of the letters H V L E N T P S U S D A H I E E O E D T I U R R. The next day they announced that the album would be called The Devil Put Dinosaurs Here, which was released on May 28, 2013, and debuted at No. 2 on the Billboard 200.
To promote the album, Alice in Chains teamed up with Funny or Die for an 11-minute mockumentary titled AIC 23, in which Film Studies professor Alan Poole McLard (played by W. Earl Brown) attempts to make a documentary on Alice in Chains without any help from the actual band, interviewing other musicians instead. Among them are country singer Donnie 'Skeeter' Dollarhide Jr. (played by Jerry Cantrell), Reggae singer Nesta Cleveland (played by William DuVall), Black Metal musician Unta Gleeben Glabben Globben Globin (played by Mike Inez) and the hipster Stanley Eisen (played by Sean Kinney). The video was released on April 3, 2013, and also features cameos by Ann and Nancy Wilson from Heart, Mike McCready from Pearl Jam, Kim Thayil from Soundgarden, Duff McKagan from Guns N' Roses, Brent Hinds and Bill Kelliher from Mastodon, and Lars Ulrich and Robert Trujillo from Metallica.
In June 2013, the band released a pinball game app for iOS as part of Pinball Rocks HD compilation, featuring the single "Hollow", the band's logo and the album artwork, as well as references to the band's previous albums such as Jar of Flies and the self-titled record.
The band released videos for the songs "Hollow", "Stone", "Voices", the title track and "Phantom Limb". "Hollow" and "Stone" reached No. 1 on Billboard's Mainstream Rock Tracks, while "Voices" reached No. 3, and each one of the three songs stayed on the chart for 20 weeks. The Devil Put Dinosaurs Here was nominated for a Grammy Award for Best Engineered Album, Non-Classical in 2014.
Alice in Chains toured extensively in the U.S., Canada, and Europe in 2013 and 2014. In May 2013, the band co-headlined the annual MMRBQ festival with Soundgarden in Camden, New Jersey. Asked in September 2013 if Alice in Chains would make another album, Cantrell replied, "It'll be a while. It's [been] four years since we put the last one out, but at least it's not the gap that was between the last one, so that's about right - about three to four years."
On January 18, 2015, Alice in Chains performed in the halftime show of the NFC Championship Game between the Seattle Seahawks and the Green Bay Packers at CenturyLink Field in Seattle. Cantrell is a lifelong Seahawks fan and often attends their games. In August 2015, Bassist Mike Inez said that the band had been "throwing around riffs for a new record" and "taking it nice and slow". The band toured in the summer of 2015 and the summer of 2016, including select shows opening for Guns N' Roses as part of the Not in This Lifetime... Tour. The band finished their 2016 tour with a concert at the Grand Sierra Resort and Casino in Reno, Nevada on October 8, 2016.
In November 2016, Alice in Chains released a cover of the Rush song "Tears", which was included in the 40th anniversary release of the album 2112. The home video Live Facelift was released on vinyl for the first time on November 25, 2016, as part of Record Store Day's Black Friday event. The album features six songs and only 5000 copies were issued.
To celebrate the tenth anniversary of Record Store Day, on April 22, 2017, Legacy Recordings released "Get Born Again"/"What the Hell Have I", a special 45 RPM double 7" single featuring four tracks remastered and available on vinyl for the first time, "What the Hell Have I", "A Little Bitter", "Get Born Again" and "Died".
2017–present: Rainier Fog
In January 2017, Mike Inez stated in an interview that the band had begun work on a new album. In June 2017, it was reported that the band would return to Studio X (formerly Bad Animals Studios) in Seattle to record a new album later that month, for a tentative early 2018 release. The sessions were helmed by Nick Raskulinecz, who produced the band's last two albums. Studio X was the studio where Alice in Chains recorded its 1995 self-titled album. According to Inez, the band was not signed to a label, having completed its previous two-record contract with the Universal Music Group. "This [upcoming album], we're not sure where it's gonna land ... I mean, we financed ['Black Gives Way To Blue'] on our own too, so we're not too worried about that stuff. We've just gotta get it out to ... a significant label [with worldwide distribution]."
The band started recording their sixth studio album on June 12, 2017. On January 11, 2018, producer Nick Raskulinecz announced via Instagram that the album was nearly finished and that there was only one more day left of recording. During an interview with Guitar World published on April 11, 2018, Jerry Cantrell said that the album was recorded at four studios. After recording at Studio X in Seattle, the band went to Nashville to record vocals and lead guitars at Nick Raskulinecz's home studio. But Cantrell had to take an unexpected break from work for a couple of weeks after getting sick on a trip to Cabo for Sammy Hagar's birthday. Cantrell had the band's engineer, Paul Figueroa, come in to his house and record a lot of his vocals and solos there. The band finished recording the album at the Henson Recording Studios in Los Angeles. Cantrell also said he expects the album to be released "probably sometime this summer."
At the press room of the Rock and Roll Hall of Fame Induction Ceremony on April 14, 2018, Cantrell revealed that Alice in Chains had just signed with BMG, and that they had finished mixing their new album.
Alice in Chains did not perform live in 2017. The band performed their first concert since October 2016 at the House of Blues in Boston on April 28, 2018. In May 2018, Alice in Chains headlined the festivals Carolina Rebellion, Lunatic Luau, Pointfest, Northern Invasion, the WMMR BBQ festival in Philadelphia, and the Rock on the Range festival in Columbus, Ohio on May 18, 2018, in which they paid tribute to Chris Cornell on the first anniversary of his death covering two Soundgarden songs to close their set, "Hunted Down" and "Boot Camp", respectively. At the end of the show, the lights on stage spelled out "CC" for Chris Cornell and "SG" for Soundgarden as feedback rang out. The band started their European tour in June 2018, and headlined the Tons Of Rock Festival in Norway alongside Ozzy Osbourne and Helloween. Alice in Chains are also scheduled to headline KISW's Pain in the Grass festival in August 2018.
The band released a new single, "The One You Know", via Spotify, Amazon and iTunes on May 3, 2018. A music video directed by Adam Mason was released on YouTube the same day. "The One You Know" peaked at No. 9 on Billboard's Mainstream Rock chart.
During an interview with Eddie Trunk on Trunk Nation on May 7, 2018, Jerry Cantrell said that the new album would be released at the end of August 2018. The band also revealed that they talked to director Adam Mason, who is making a dark sci-film, about doing two separate pieces of art and maybe molding them together, and that the music video for "The One You Know" is the first chapter of molding Mason's film and the band's music videos together.
The second single, "So Far Under", was released on Alice in Chains' YouTube channel and on streaming platforms on June 27, 2018. It was also announced that the album would be titled Rainier Fog, with the release date scheduled for August 24, 2018. The album's artwork and the track listing were also revealed on the same day. Jerry Cantrell told Rolling Stone that the title Rainier Fog was inspired by the Mount Rainier in Seattle, and the title track is a tribute to the Seattle music scene. "This song is a little homage to all of that: where we come from, who we are, all of the triumphs, all of the tragedies, lives lived."
The album's third single, "Never Fade", was released on August 10, 2018, through digital and streaming services. The song is a tribute dedicated to frontman William DuVall's grandmother, Chris Cornell, and Alice in Chains' original singer Layne Staley. "Never Fade" peaked at No. 10 on Billboard's Mainstream Rock chart. A music video directed by Adam Mason was released on November 1, 2018, and continued the storyline from the music video of "The One You Know".
In June 2018, William DuVall said in an interview with Swedish website Rocksverige that the music video for "The One You Know" is the first chapter of what the band is hoping will be visuals for all ten songs from the album Rainier Fog, and in addition to that, will be a companion piece to the film that director Adam Mason was shooting.
On August 20, 2018, the baseball team Seattle Mariners hosted a special "Alice in Chains Night" at the Safeco Field in Seattle to promote Rainier Fog, with the team offering the fans a package that included a Safeco Field terrace club ticket, access to a pre-game listening party of the album, an Alice in Chains T-shirt and a Rainier Fog CD. Jerry Cantrell also threw out the ceremonial first pitch and delivered a strike before the Seattle Mariners vs. Houston Astros game.
To mark the launch of the album, on August 21, 2018, Alice in Chains performed an acoustic set at the top of Seattle's Space Needle and debuted the song "Fly". Alice in Chains were the first band to perform on the Space Needle's new "Loupe" glass floor, the world's first and only revolving glass floor 500 feet high. The concert was exclusive for an audience of SiriusXM subscribers. SiriusXM broadcast the concert on their channel Lithium on August 31, 2018.
On August 22, 2018, Alice in Chains sent fans on a Scavenger hunt to access a secret gig that the band would be performing in Seattle on August 24. Ten signed CD copies of Rainier Fog were hidden around the city as a ticket into the show, and the band asked the fans to keep an eye on their Instagram story for details on the 10 hidden locations. Once all 10 albums were found, the band revealed that the secret gig would be at the rock club The Crocodile, with limited tickets available with the purchase of their album at a pop-up event at the same venue the next day. Preview clips of each of the album tracks were posted on the band's Instagram.
The band also commemorated the release of the album with a pop-up museum installation at The Crocodile in Seattle on August 23 and 24. The museum featured rare Alice in Chains photos, limited-edition merchandise and memorabilia that showcased the band's 30+ year career.
Rainier Fog debuted at No. 12 on the Billboard 200 chart, selling 31,000 copies (29,000 in traditional album sales), in its first week of release. The album also debuted at No. 1 on Billboard's Top Rock Albums, Alternative Albums and Hard Rock Albums charts, and at No. 3 on the Vinyl Albums chart. Rainier Fog became Alice in Chains' first top 10 in the UK, peaking at No. 9, and topping UK's Rock & Metal Albums chart. The album has been nominated for a Grammy Award for Best Rock Album.
On December 13, 2018, the teaser of the film Black Antenna featuring the song "Rainier Fog" was released on Alice in Chains' official YouTube channel, with drummer Sean Kinney stating; "We've always toyed with the idea of creating videos for every song on one of our albums. Not only did we do that for Rainier Fog, it got totally out of hand and we made a whole goddamn movie. Everything that will be seen in the videos will be footage from Black Antenna to preface the complete film's release." "Rainier Fog" was released as a single on February 26, 2019. The official trailer for Black Antenna was released on Alice In Chains' YouTube Channel on February 28, 2019. Besides a 90-minute film, a 10-part web-series focused on each track from the album will also be released. Episodes 1 and 2, "The One You Know" and "Rainier Fog", respectively, were released on March 7, 2019. The tenth and last episode, "All I Am", was released on July 17, 2019. The official music video for "Rainier Fog" was released on YouTube on May 15, 2019, and was co-directed by Alice in Chains and Peter Darley Miller, who also directed the band's 2013 mockumentary, AIC 23.
On December 1, 2020, Alice in Chains was honored with the Founders Award from Seattle's Museum of Pop Culture. The benefit concert featured tribute performances from artists such as Ann Wilson, Korn, Metallica, Fishbone, Dallas Green, Billy Corgan, Tad Doyle, members of Soundgarden and Pearl Jam, among others. The event was made available for streaming for free and raised more than $600,000 for the museum in its first night. A compilation featuring highlights from the tribute was made available for streaming on Amazon Music.
Musical style
Although Alice in Chains has been labeled grunge by the mainstream media, Jerry Cantrell identifies the band as primarily heavy metal. He told Guitar World in 1996, "We're a lot of different things ... I don't quite know what the mixture is, but there's definitely metal, blues, rock and roll, maybe a touch of punk. The metal part will never leave, and I never want it to." The Edmonton Journal has stated, "Living and playing in Seattle might have got them the grunge tag, but they've always pretty much been a classic metal band to the core."
Over the course of their career, the band's sound has also been described as alternative metal, sludge metal, doom metal, drone rock, hard rock, and alternative rock. Regarding the band's constant categorization by the media, Cantrell stated "When we first came out we were metal. Then we started being called alternative metal. Then grunge came out and then we were hard rock. And now, since we've started doing this again I've seen us listed as: hard rock, alternative, alternative metal and just straight metal. I walked into an HMV the other day to check out the placement and see what's on and they've got us relegated back into the metal section. Right back where we started!" Drummer Sean Kinney rejects the grunge label, stating in a 2013 interview "I mean, before we first came out there was no grunge, they hadn't invented that word. Before they invented the word grunge we were alternative rock and alternative metal and metal and rock, and we didn't give a shit whatever, we were a rock and roll band!." According to Mike Inez, they were always the metal stepchildren of the Seattle scene.
The band are influenced to a great extent by English metal music; in 2018, Jerry Cantrell proclaimed Black Sabbath guitarist Tony Iommi as "one of his biggest" inspirations, whilst Layne Staley named his "first influences" as Black Sabbath and Deep Purple. Cantrell adjudged English rock singer Elton John as "the artist that made me want to be a musician." In addition, members of Alice in Chains have cited artists including AC/DC, Accept, Aerosmith, The Beatles, Black Flag, David Bowie, John Coltrane, Miles Davis, Dio, Funkadelic, Hanoi Rocks, Heart, Jimi Hendrix, Iron Maiden, King's X, Kiss, Led Zeppelin, Metallica, Motörhead, Mudhoney, Pink Floyd, Queensrÿche, the Rolling Stones, Rush, Scorpions, Soundgarden, The Stooges, Television, Thin Lizzy, U2, UFO, Van Halen, The Velvet Underground, Hank Williams, and ZZ Top as influential or inspirational.
Jerry Cantrell's guitar style combines "pummeling riffs and expansive guitar textures" to create "slow, brooding minor-key grinds". He is also recognized for his natural ability to blend acoustic and electric guitars. While down-tuned, distorted guitars mixed with Staley's distinctive "snarl-to-a-scream" vocals appealed to heavy metal fans, the band also had "a sense of melody that was undeniable," which introduced Alice in Chains to a much wider audience outside of the heavy metal underground.
According to Stephen Thomas Erlewine of AllMusic, Alice in Chains' sound has a "Black Sabbath-style riffing and an unconventional vocal style." The band has been described by Erlewine as "hard enough for metal fans, yet their dark subject matter and punky attack placed them among the front ranks of the Seattle-based grunge bands." Three of the band's releases feature acoustic music, and while the band initially kept these releases separate, Alice in Chains' self-titled album combined the styles to form "a bleak, nihilistic sound that balanced grinding hard rock with subtly textured acoustic numbers."
Alice in Chains is also noted for the unique vocal harmonies of Staley (or DuVall) and Cantrell, which included overlapping passages, dual lead vocals, and trademark harmonies typically separated by a major third. Cantrell said it was Staley who gave him the self-assurance to sing his own songs. Alyssa Burrows said the band's distinctive sound "came from Staley's vocal style and his lyrics dealing with personal struggles and addiction." Staley's songs were often considered "dark", with themes such as drug abuse, depression, and suicide, while Cantrell's lyrics often dealt with personal relationships.
Legacy
Alice in Chains has sold over 14 million records in the United States, and over 30 million records worldwide, released two number-one albums, had 23 top 40 singles, and has received eleven Grammy Award nominations. The band was ranked number 34 on VH1's 100 Greatest Artists of Hard Rock. Alice in Chains was named 15th greatest live band by Hit Parader, with Staley placing as 27th-greatest heavy metal vocalist of all time. The band's second album, Dirt, was named 5th-best album in the last two decades by Close-Up magazine in 2008.
In October 2008, Guitar World ranked Cantrell's solo in "Man in the Box" at No. 77 on their list of "100 Greatest Guitar Solos". In August 2009, Alice in Chains won the Kerrang! Icon Award.
In November 2011, Jar of Flies was ranked number four on Guitar World magazine's top ten list of guitar albums of 1994. It was also featured in Guitar World magazine's "Superunknown: 50 Iconic Albums That Defined 1994" list, and in May 2014, the EP was placed at number five on Loudwire's "10 Best Hard Rock Albums of 1994" list.
Pantera and Damageplan guitarist Dimebag Darrell had expressed his admiration for Cantrell's guitar work in an interview for Guitar International in 1995, saying that "the layering and the honest feel that Jerry Cantrell gets on [Alice in Chains' Dirt] record is worth a lot more than someone who plays five million notes."
Street musician Wesley Willis wrote a song about the band entitled "Alice in Chains", featured on his 1996 album Feel The Power.
Billy Corgan revealed that the song "Bleeding The Orchid" from The Smashing Pumpkins' 2007 album Zeitgeist has a bit of an homage to Alice in Chains in the harmonies and was indirectly inspired by the death of Staley.
Elton John stated that he is a fan of Alice in Chains and a big admirer of Cantrell. According to Jon Wiederhorn of MTV, Godsmack has "sonically followed Alice in Chains' lead while adding their own distinctive edge." Godsmack singer and founder Sully Erna has also cited Staley as his primary influence. Godsmack was named after the Alice in Chains song "God Smack" from the album Dirt. Staind has covered Alice in Chains' song "Nutshell" live, which appears on the compilation The Singles: 1996-2006, and also wrote a song entitled "Layne", dedicated to Staley, on the album 14 Shades of Grey. Three Days Grace also performs a cover of "Rooster", which can be seen on the DVD Live at the Palace. Other bands that have been influenced by Alice in Chains include 10 Years, Avenged Sevenfold, Breaking Benjamin, Creed, Dallas Green, Days of the New, Hoobastank, Incubus, Korn, Manic Street Preachers, Mudvayne, Nickelback, A Pale Horse Named Death, Puddle of Mudd, Queens of the Stone Age, Rains, Seether, Smile Empty Soul, Stone Sour, Tantric, Taproot, and Theory of a Deadman. Metallica said they have always wanted to tour with the band, citing Alice in Chains as a major inspiration for their 2008 release, Death Magnetic.
Alice in Chains has also had a significant influence on modern heavy metal. Their songs were covered by various metal bands such as In Flames, Opeth, Dream Theater, Secrets of the Moon, Suicide Silence, 36 Crazyfists, Cane Hill, Ektomorf, Dritt Skitt, Grave and Thou, who described their 2018 EP Rhea Sylvia as "a melodic grunge, Alice in Chains homage." In 2009, Anders Fridén of Swedish melodic death metal band In Flames cited Layne Staley as an inspiration for his vocals on the band's later albums. In addition to fellow musicians, the band has also received praise from critics, with Steve Huey of AllMusic calling them "one of the best metal bands of the '90s" upon reviewing the 1999 compilation Nothing Safe.
In 2009, the Vitamin String Quartet released the album The String Quartet Tribute to Alice in Chains, featuring instrumental versions on viola, violin and cello of 12 of the band's biggest hits.
In August 2015, journalist David de Sola published the biography Alice in Chains: The Untold Story. An updated version covering the period from 2014 to 2017 was published in November 2018. Neither the band nor their management had any involvement with the book. Sources tied directly to the band were interviewed instead.
In June 2017, Metal Injection ranked Alice in Chains at number 1 on their list of "10 Heaviest Grunge Bands". Ozzy Osbourne ranked Facelift among his list of "10 Favorite Metal Albums".
The claymation dolls of the band members used in the music video for "I Stay Away" are on display at the Rock and Roll Hall of Fame museum in Cleveland, Ohio.
Band members
Current members
Jerry Cantrell – lead guitar, lead vocals (1987–2002, 2005–present), rhythm guitar (1987–2002, 2005–2006)
Sean Kinney – drums, backing vocals (1987–2002, 2005–present)
Mike Inez – bass, backing vocals (1993–2002, 2005–present)
William DuVall – lead vocals, rhythm guitar (2006–present)
Former members
Layne Staley – lead vocals (1987–2002), occasional rhythm guitar (1992–2002; died 2002)
Mike Starr – bass, backing vocals (1987–1993; died 2011)
Touring members
Maynard James Keenan – lead vocals (2005)
Timeline
Discography
Studio albums
Facelift (1990)
Dirt (1992)
Alice in Chains (1995)
Black Gives Way to Blue (2009)
The Devil Put Dinosaurs Here (2013)
Rainier Fog (2018)
Awards and nominations
References
External links
VH1 Classic: Alice In Chains
1987 establishments in Washington (state)
2002 disestablishments in Washington (state)
2005 establishments in Washington (state)
American alternative metal musical groups
Columbia Records artists
EMI Records artists
American grunge groups
Heavy metal musical groups from Washington (state)
Kerrang! Awards winners
Musical groups established in 1987
Musical groups disestablished in 2002
Musical groups reestablished in 2005
Musical groups from Seattle
Musical quartets
Virgin Records artists
Capitol Records artists | true | [
"Jar of Flies is the third studio EP by the American rock band Alice in Chains, released on January 25, 1994, through Columbia Records. This is Alice in Chains' second acoustic EP, preceded by 1992's Sap, and it is the first EP in music history to debut at No. 1 on the Billboard 200 chart, with the first week sales exceeding 141,000 copies in the United States. The self-produced EP was written and recorded over the course of just one week at the London Bridge Studio in Seattle. The tracks \"No Excuses\", \"I Stay Away\" and \"Don't Follow\" were released as singles to promote the album. Jar of Flies was nominated for two Grammy Awards in 1995: Best Recording Package and Best Hard Rock Performance for \"I Stay Away\".\n\nThe EP was well received by critics and has been certified triple-platinum by the RIAA, selling 4 million copies worldwide, making Jar of Flies one of the band's most successful releases. In Canada, Jar of Flies was certified double-platinum for the sale of 200,000 copies. In Great Britain, the album was certified silver after selling 60,000 copies.\n\nBackground and recording\nFollowing Alice in Chains' extensive 1993 world tour for Dirt, bassist Mike Starr getting fired during the tour for his drug use, and Ozzy Osbourne bassist Mike Inez joining the band, the members returned home to Seattle after the end of their Lollapalooza tour and found themselves evicted from their residence after failing to pay the rent. Homeless, the band then moved into the London Bridge Studio in Seattle.\n\nDuring Alice in Chains' June–August 1993 appearance at Lollapalooza, guitarist Jerry Cantrell called record producer Toby Wright with a proposal to collaborate on new material. Wright reacted positively and booked ten days at the London Bridge Studio. Despite Cantrell's assurances, the band did not have any planned tracks before the session began. Drummer Sean Kinney had said, \"After playing loud music for a year, we'd come home and the last thing we wanted to do was crank up the amps right away. That stuff was written on buses and whenever we had downtime. We did Jar of Flies to see how it was to record with [bassist] Mike Inez. We just went into the studio with no songs written, to check out the chemistry. It all fell into place. The sounds and the tones were really good. We thought it would be a waste not to put that material out.\"\n\nThe first session took place on September 7, 1993. Vocalist Layne Staley said the band \"just wanted to go into the studio for a few days with our acoustic guitars and see what happened. We never really planned on the music we made at that time to be released. But the record label heard it and they really liked it. For us, it was just the experience of four guys getting together in the studio and making some music.\" The album's sessions lasted 14–18 hours a day, and recording was complete within seven days. Assistant engineer Jonathan Plum described the sessions as \"exhaustive\". The album was recorded on tape on a Neve 80-68 mixing console because Wright wanted the album's acoustic sound to be as natural as possible. Staley instructed that Pro Tools not be used within the studio; as Wright explained, \"Layne absolutely had a working knowledge of his sonic preferences in the studio - and felt analog sounded better for the band's sound.\" The album's tracks were mostly recorded within one or two takes.\n\nThe album's acoustic guitar sound was particularly focused on. Wright recalled that \"at some points we overdubbed some acoustics with micing those acoustics, but when they were recording live off the floor, I'd use whatever pick-ups [Cantrell] had in his guitars at the time, trying to keep that sound as close to acoustic-sounding as possible. So that it sounded like it was an acoustic guitar instead of an electrified acoustic guitar.\" Cantrell played using Ovation guitars during the album's sessions. To reflect the recording's acoustic climate, Kinney sometimes used brushes to obtain a softer feel. AKG 414 microphones were used for overhead registration, while D-12s were used for the floor and rack toms, and Sennheiser MD 421s were placed on the kick drum. 451s and 57s were mounted on the top side of the snare drum, while a 441 was fitted on the bottom side. The characteristic syncopated drum opening in \"No Excuses\" was a result of Kinney's improvised experimentation with side-stick drumming. Wright was not an advocate of the technique and said that they \"eventually wound up with some bongos and some smaller drums set up over the hi-hat that we incorporated into that groove.\" Staley wrote much of the album's lyrics within the studio and arranged the album's vocal harmonies. Wright recalled the pace of Staley's work as quick, and that the vocal tracks were recorded within one or two takes via a Neumann M-49 microphone. Cantrell performed the lead vocals in the track \"Don't Follow\". Wright described Cantrell as an \"awesome\" singer, and stressed that \"you couldn't have done all those harmonies without him.\" The album's sessions concluded on September 14. Wright mixed the album at Scream Studio in Los Angeles, California from September 17–22.\n\nMusic and lyrics\nDue to the dominance of acoustic instruments in Jar of Flies, the album is often considered a continuation of the sound adopted by the band on the 1992 EP Sap. The album demonstrates the band's wide range by offering a variety of tracks with an acoustic texture, featuring elements of album-oriented rock, blues rock, alternative rock, jangle pop, and classic rock. Steve Huey of AllMusic stressed that \"the mood is still hopelessly bleak, but the poignant, introspective tone produces a sense of acceptance that's actually soothing, in a funereal sort of way. Jerry Cantrell's arrangements keep growing more detailed and layered; while there are a few noisy moments, most of Jar of Flies is bathed in a clean, shimmering ambience whose source is difficult to pin down\". Paul Evans of Rolling Stone stated that Staley's vocals on the tracks \"Swing on This\" and \"Rotten Apple\" \"ow[e] as much to Styx and Kansas as Jerry Cantrell’s guitars do to Black Sabbath\", and that the vocals \"evoke pathos as well as anger.\" Tom Sinclair of Entertainment Weekly compared \"No Excuses\" to classic rock of the 70's and described \"Swing on This\" as \"postmodern boogie-woogie\". The album's lyrics are dark and gloomy, with Huey writing that \"Jar of Flies is about living with the consequences, full of deeply felt reflections on loneliness, self-imposed isolation, and lost human connections.\" Jon Pareles of The New York Times observed that \"Alice in Chains prizes solitude on Jar of Flies, a set of songs about rugged individualism turned into exile.\"\n\nPackaging and title\nThe album's title originates from a science experiment that Cantrell conducted in third grade. The experiment consisted of maintaining two jars full of flies. The flies in one jar would be overfed, while the flies in the other jar would be underfed. The flies that were overfed reproduced rapidly, but then died from overcrowding. The flies that were underfed managed to survive throughout the year. Concerning the anecdote, Staley said \"I guess there's a message in there somewhere. Evidently that experiment had a big impact on Jerry.\"\n\nRocky Schenck photographed the album cover in his dining room on September 8, 1993. As he recalled, \"The band had come up with the idea for the title and wanted the cover to be a young boy looking into a jar filled with flies. I remember they asked me to use 'crazy colors' in the shot, so I utilized lots of different gels over the lights to achieve the final look.\" Schenck's assistant took several trips to a nearby horse stable where he caught hundreds of flies using a butterfly net. On January 27, 2019, two days following the album's 25th anniversary, Schenck published rare outtakes from the album cover shoot on his Instagram account and said that he has forgotten the name of the kid on the cover.\n\nRelease and reception\n\nJar of Flies was released on January 25, 1994 by Columbia Records. The album was promoted by two singles, \"No Excuses\" and \"I Stay Away\", both of which received music videos. \"No Excuses\" reached #1 on the Album Rock Tracks chart, becoming the first single by the band to do so. Cantrell admitted that \"we couldn't believe that it did so well,\" and that \"the success of Jar of Flies showed us that we could do what we liked and that other people would like it too.\" A limited edition Enhanced CD was produced. This version of the album includes a lyric sheet, a biography and discography of the band, the music videos for \"No Excuses\" and \"I Stay Away\" and fragments of interviews with the musicians. In addition, 2,500 copies were made of a double EP including Jar of Flies and Sap.\n\nThe album entered the Billboard 200 chart at number one; the sales that prompted this was over 141,000 during the first week of its release thus becoming the first ever EP and first Alice in Chains release to top the charts. It was the only EP ever to gain this distinction until 2004, when the Collision Course mashup EP by Jay-Z and Linkin Park also achieved the number one spot ten years later, and Bad Meets Evil's EP Hell: The Sequel in 2011. Jar of Flies has since been certified triple platinum, with over 2,037,853 copies sold during its first year and another million more copies after two years.\n\nPaul Evans of Rolling Stone called the EP \"darkly gorgeous\", and Steve Huey stated \"Jar of Flies is a low-key stunner, achingly gorgeous and harrowingly sorrowful all at once.\"\n\nAwards and accolades\nThe album was nominated for a Grammy Award for Best Recording Package in 1995, but lost to Buddy Jackson for \"Tribute to the Music of Bob Wills and the Texas Playboys\" performed by Asleep at the Wheel. The single \"I Stay Away\" was nominated for the Best Hard Rock Performance.\n\nIn November 2011, Jar of Flies was ranked No. 4 on Guitar World magazine's top ten list of guitar albums of 1994.\n\nIt was featured on Guitar World magazine's \"Superunknown: 50 Iconic Albums That Defined 1994\" list in 2014.\n\nIn April 2014, Jar of Flies was ranked No. 12 on Rolling Stone's \"40 Best Records From Mainstream Alternative's Greatest Year\" list. In May 2014, the EP was placed at No. 5 on Loudwire's \"10 Best Hard Rock Albums of 1994\" list.\n\nIn April 2019, the EP was ranked No. 42 on Rolling Stone's \"50 Greatest Grunge Albums\" list.\n\nInfluence\nCane Hill's lead vocalist Elijah Witt said that Jar of Flies was a big influence on the band's 2019 acoustic EP, Kill the Sun. The album was also an inspiration for Strung Out's 2018 acoustic EP, Black Out the Sky.\n\nTrack listing\n\nPersonnel\n\nAlice in Chains\nJerry Cantrell – guitars, backing vocals, co-lead vocals on \"No Excuses\" and \"Don't Follow\"\nMike Inez – bass, additional vocals\nSean Kinney – drums, percussion\nLayne Staley – lead vocals\n\nProduction\nProduced by Alice in Chains\nEngineered and mixed by Toby Wright\nAssisted by Liz Sroka and Jon Plum\nArt direction by Mary Maurer\nPhotography by Rocky Schenck\nBand photography by Pete Cronin\nElectron Microscope photography by Alicia K. Thompson\nManagement by Susan Silver\n\nAdditional performers\nApril Acevez – viola\nRebecca Clemons-Smith – violin\nMatthew Weiss – violin\nJustine Foy – violoncello\nDavid Atkinson – harmonica\nRandy Biro – additional vocals\nDarrel Peters – additional vocals\n\nCharts\n\nWeekly charts\n\nYear-end charts\n\nSingles\n\nCertifications\n\nReferences\n\nBibliography\n\nExternal links\n\n1994 EPs\nAlice in Chains EPs\nColumbia Records EPs\nJangle pop EPs\nBlues rock EPs",
"The Parable of the Empty Jar (also known as the Parable of the Woman with a Jar), is a parable attributed to Jesus. However, it appears in none of the Canonical gospels of the New Testament but only in the non-canonical Gospel of Thomas. According to the Gospel of Thomas 97 Jesus said:\n\"The kingdom of the father is like a certain woman who was carrying a jar full of meal. While she was walking on the road, still some distance from home, the handle of the jar broke and the meal emptied out behind her on the road. She did not realize it; she had noticed no accident. When she reached her house, she set the jar down and found it empty.\"\n\nAuthenticity\nThe scholars of the Jesus Seminar gave the Parable of the Empty Jar a \"pink\" rating, indicating \nthat it is in their opinion probably, but not certainly, an authentic saying of Jesus. The scholars of the Seminar noted parallels with the parable of the leaven, which immediately precedes the parable of the empty jar in the Gospel of Thomas and the parable of the mustard seed: in all three the kingdom starts with something \"unnoticed or unexpected or modest\". However, the work of the Jesus Seminar has been criticized by other scholars.\n\nInterpretation\nThis parable has been given a wide variety of interpretations. It may be a warning against letting the \"Kingdom\", which according to Thomas 3 is \"inside of you and outside of you\" slip away like the lost flour: it may also be a simple warning against self-confidence.\nThe emptiness of the jar may represent an empty life: \"people who live their lives in the world ... carry jars they think are full, but discover, even after much activity, that they are empty\".\nAnother interpretation is that the parable refers to \"the imperceptible coming of the Kingdom\".\nOne commentator recasts the emptiness of the jar in a positive light by highlighting the contrast of the image of the empty jar with the expected ending of the woman finding a full jar: such a \"happy ending\" would be \"fairy tale religiosity\" whereas \"emptiness in the world is what is critical to eventual spiritual fullness\".\nRay Shortell believes the parable Alexandrian/Stoic anti-sexist/anti-xenophobic against the temple, represented by the cracked jar carried by a priestess. The knowledge of our creator is strewn across all roads and thinking to contain it leaves one with less. As Jesus said, ‘you may say to worship at the temple, but I say to worship in spirit and truth.‘\n\nReferences\n\nEmpty Jar"
]
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[
"Alice in Chains",
"Jar of Flies (1993-1994)",
"What is the Jar of Flies?",
"Columbia Records released Alice in Chains' second acoustic-based EP, Jar of Flies, on January 25, 1994."
]
| C_68e092ce2d2f47e9ba7736c8e2acfae9_0 | How did this EP do? | 2 | How did Alice in Chains EP Jar of Flies do? | Alice in Chains | Following Alice in Chains' extensive 1993 world tour, Staley said the band "just wanted to go into the studio for a few days with our acoustic guitars and see what happened". "We never really planned on the music we made at that time to be released. But the record label heard it and they really liked it. For us, it was just the experience of four guys getting together in the studio and making some music." Columbia Records released Alice in Chains' second acoustic-based EP, Jar of Flies, on January 25, 1994. Written and recorded in one week, Jar of Flies debuted at number one on the Billboard 200, becoming the first EP--and first Alice in Chains release--to top the charts. Paul Evans of Rolling Stone called the EP "darkly gorgeous", and Steve Huey said, "'Jar of Flies' is a low-key stunner, achingly gorgeous and harrowingly sorrowful all at once". Jar of Flies features Alice in Chains' first number-one single on the Mainstream Rock charts, "No Excuses". The second single, "I Stay Away", reached number ten on the Mainstream rock charts, while the final single "Don't Follow", reached number 25. Jar of Flies has been certified triple platinum by the RIAA, with over 2 million copies sold in the United States during its first year. After the release of Jar of Flies, Staley entered rehab for heroin addiction. The band was scheduled to tour during the summer of 1994 with Metallica, Suicidal Tendencies, Danzig, and Fight, as well as a slot during Woodstock '94, but while in rehearsal for the tour, Staley began using heroin again. Staley's condition prompted the other band members to cancel all scheduled dates one day before the start of the tour, putting the band on hiatus. Alice in Chains was replaced by Candlebox on the tour. Susan Silver's management office sent out a statement saying that the decision to withdraw from the Metallica tour and Woodstock was "due to health problems within the band." The band broke up for six months. Kinney told Rolling Stone in 1996, "Nobody was being honest with each other back then. If we had kept going, there was a good chance we would have self-destructed on the road, and we definitely didn't want that to happen in public." CANNOTANSWER | Written and recorded in one week, Jar of Flies debuted at number one on the Billboard 200, becoming the first EP--and first Alice in Chains release--to top the charts. | Alice in Chains (often abbreviated as AIC) is an American rock band from Seattle, Washington, formed in 1987 by guitarist and vocalist Jerry Cantrell and drummer Sean Kinney, who later recruited bassist Mike Starr and lead vocalist Layne Staley. Starr was replaced by Mike Inez in 1993. William DuVall joined the band in 2006 as co-lead vocalist and rhythm guitarist, replacing Staley, who died in 2002. The band took its name from Staley's previous group, the glam metal band Alice N' Chains.
Often associated with grunge music, Alice in Chains' sound incorporates heavy metal elements. The band is known for its distinctive vocal style, which often included the harmonized vocals between Staley and Cantrell (and later Cantrell and DuVall). Cantrell started to sing lead vocals on the 1992 acoustic EP Sap, and his role continued to grow in the following albums, making Alice in Chains a two-vocal band.
Alice in Chains rose to international fame as part of the grunge movement of the early 1990s, along with other Seattle bands such as Nirvana, Pearl Jam, and Soundgarden. They achieved success during the era with the albums Facelift (1990), Dirt (1992), Alice in Chains (1995), as well as the EP Jar of Flies (1994). Although never officially disbanding, Alice in Chains was plagued by extended inactivity from 1996 onward, due to Staley's substance abuse, which resulted in his death in 2002. The band regrouped in 2006, with DuVall taking over as lead vocalist full-time, and they have since released three more albums: Black Gives Way to Blue (2009), The Devil Put Dinosaurs Here (2013), and Rainier Fog (2018).
Alice in Chains have sold over 30 million records worldwide, and over 14 million records in the US alone. The band has had 18 Top 10 songs on Billboard's Mainstream Rock Tracks chart, 5 No. 1 hits, and received 11 Grammy Award nominations. The band was ranked number 34 on VH1's 100 Greatest Artists of Hard Rock and was ranked as the 15th greatest live band by Hit Parader. Since its formation, Alice in Chains has released six studio albums, three EPs, three live albums, four compilations, two DVDs, 43 music videos, and 32 singles.
History
1984–1989: Formation and early years
Before the formation of Alice in Chains, then-drummer Layne Staley landed his first gig as a vocalist when he auditioned to sing for a local glam metal band known as Sleze after receiving some encouragement from his stepbrother Ken Elmer. Other members of this group at that time were guitarists Johnny Bacolas and Zoli Semanate, drummer James Bergstrom, and bassist Byron Hansen. This band went through several lineup changes culminating with Nick Pollock as their sole guitarist and Bacolas switching to bass before discussions arose about changing their name to Alice in Chains. This was prompted by a conversation that Bacolas had with Russ Klatt, the lead singer of Slaughter Haus 5, about backstage passes. One of the passes said "Welcome to Wonderland", and they started talking about that being a reference to Alice in Wonderland, until Klatt said, "What about Alice in Chains? Put her in bondage and stuff like that." Bacolas thought the name "Alice in Chains" was cool and brought it up to his Sleze bandmates and everyone liked it, so they decided to change the name of the band. Due to concerns over the reference to female bondage, the group ultimately chose to spell it differently as Alice N' Chains to allay any parental concerns, though Staley's mother Nancy McCallum has said she was still not happy with this name at first. According to Bacolas, the decision to use the apostrophe-N combination in their name had nothing to do with the Los Angeles band Guns N' Roses. The name change happened in 1986, a year before Guns N' Roses became a household name with their first album Appetite for Destruction, released in July 1987.
Staley met guitarist Jerry Cantrell at a party in Seattle around August 1987. A few months prior, Cantrell had watched a concert of Alice N' Chains in his hometown at the Tacoma Little Theatre, and was impressed by Staley's voice. Cantrell was homeless after being kicked out of his family's house, so Staley invited Cantrell to live with him at the rehearsal studio Music Bank, and the two struggling musicians became roommates.
Alice N' Chains soon disbanded, and Staley joined a funk band. Cantrell's band, Diamond Lie, broke up and he wanted to form a new band, so Staley gave him the phone number of Melinda Starr, the girlfriend of drummer Sean Kinney, so that Cantrell could talk to him. Cantrell called the number and set up a meeting with Kinney. Kinney and his girlfriend went to the Music Bank and listened to Cantrell's demos, who mentioned that they needed a bass player to jam with them, and he had someone in mind: Mike Starr, with whom Cantrell had played in a band in Burien called Gypsy Rose. Kinney then mentioned that his girlfriend was actually Mike Starr's sister, and that he had been playing in bands together with Starr since they were kids. Kinney called Starr and a few days later he started jamming with him and Cantrell at the Music Bank, but they didn't have a singer.
Staley's funk band also required a guitarist at the time, and Staley asked Cantrell to join as a sideman. Cantrell agreed on condition that Staley join his band. Because Cantrell, Starr and Kinney wanted Staley to be their lead singer, they started auditioning terrible lead singers in front of Staley to send a hint. The last straw for Staley was when they auditioned a male stripper – he decided to join the band after that. Eventually the funk project broke up, and in 1987 Staley joined Cantrell's band on a full-time basis. Two weeks after the band's formation, they were playing a gig at Washington State University, trying to fill out a 40-minute set with a couple of original songs along with Hanoi Rocks and David Bowie covers.
The band played a couple of gigs in clubs around the Pacific Northwest, calling themselves different monikers, including Diamond Lie, the name of Cantrell's previous band, and "Fuck", before eventually adopting the name that Staley's previous band had initially flirted with, Alice in Chains. Staley contacted his former bandmates and asked for permission to use the name. Nick Pollock wasn't particularly thrilled about it at the time and thought he should come up with a different name, but ultimately both he and James Bergstrom gave Staley their blessing to use the name.
Local promoter Randy Hauser became aware of the band at a concert and offered to pay for demo recordings. However, one day before the band was due to record at the Music Bank studio in Washington, police shut down the studio during the biggest cannabis raid in the history of the state. The final demo, completed in 1988, was named The Treehouse Tapes and found its way to music managers Kelly Curtis and Susan Silver, who also managed the Seattle-based band Soundgarden. Curtis and Silver passed the demo on to Columbia Records' A&R representative Nick Terzo, who set up an appointment with label president Don Ienner. Based on The Treehouse Tapes, Terzo signed Alice in Chains to Columbia in 1989. The band also recorded another untitled demo over a three-month period in 1989. This recording can be found on the bootleg release Sweet Alice.
1990–1992: Facelift and Sap
Alice in Chains soon became a top priority of the label, which released the band's first official recording in July 1990, a promotional EP called We Die Young. The EP's lead single, "We Die Young", became a hit on metal radio. After its success, the label rushed Alice in Chains' debut album into production with producer Dave Jerden. Cantrell stated the album was intended to have a "moody aura" that was a "direct result of the brooding atmosphere and feel of Seattle."
The resulting album, Facelift, was released on August 21, 1990, peaking at number 42 in the summer of 1991 on the Billboard 200 chart. Facelift was not an instant success, selling under 40,000 copies in the first six months of release, until MTV added "Man in the Box" to regular daytime rotation. The single hit number 18 on the Mainstream rock charts, with the album's follow up single, "Sea of Sorrow", reaching number 27, and in six weeks Facelift sold 400,000 copies in the US. The album was a critical success, with Steve Huey of AllMusic citing Facelift as "one of the most important records in establishing an audience for grunge and alternative rock among hard rock and heavy metal listeners." Sammy Hagar claimed he invited the band to tour with Van Halen after he saw the music video for "Man In The Box" on MTV.
Facelift was certified gold by the Recording Industry Association of America (RIAA) for selling a half-million copies on September 11, 1991, becoming the first album from Seattle's Grunge movement to be certified gold. The band continued to hone its audience, opening for such artists as Iggy Pop, Van Halen, Poison, and Extreme. Facelift has since been certified triple-platinum by the RIAA, for shipments of three million copies in the United States.
The concert at the Moore Theatre in Seattle on December 22, 1990, was recorded and released on VHS on July 30, 1991, as Live Facelift. It features five live songs and three music videos. The home video has been certified gold by the RIAA for sales exceeding 50,000 copies.
In early 1991, Alice in Chains landed the opening slot for the Clash of the Titans tour with Anthrax, Megadeth, and Slayer, exposing the band to a wide metal audience but receiving mainly poor reception. Alice in Chains was nominated for a Best Hard Rock Performance Grammy Award in 1992 for "Man in the Box" but lost to Van Halen for their 1991 album For Unlawful Carnal Knowledge.
Following the tour, Alice in Chains entered the studio to record demos for its next album, but ended up recording five acoustic songs instead. While in the studio, drummer Sean Kinney had a dream about "making an EP called Sap". The band decided "not to mess with fate", and on February 4, 1992, Alice in Chains released their second EP, Sap. The EP was released while Nirvana's Nevermind was at the top of the Billboard 200 charts, resulting in a rising popularity of Seattle-based bands, and of the term "grunge music". Sap was certified gold within two weeks. The EP features Cantrell on lead vocals on the opening track, "Brother", and guest vocals by Ann Wilson from the band Heart, who joined Staley and Cantrell for the choruses of "Brother" and "Am I Inside". The EP also features Mark Arm of Mudhoney and Chris Cornell of Soundgarden, who shared vocals with Staley and Cantrell on the song "Right Turn", credited to "Alice Mudgarden" in the liner notes.
In 1992, Alice in Chains appeared in the Cameron Crowe film Singles, performing as a "bar band". The band also contributed the song "Would?" to the film's soundtrack, whose video received an award for Best Video from a Film at the 1993 MTV Video Music Awards.
1992–1993: Dirt
In March 1992, the band returned to the studio. With new songs written primarily on the road, the material has an overall darker feel than Facelift, with six of the album's thirteen songs dealing with the subject of addiction. "We did a lot of soul searching on this album. There's a lot of intense feelings." Cantrell said, "We deal with our daily demons through music. All of the poison that builds up during the day we cleanse when we play."
On September 29, 1992, Alice in Chains released its second album, Dirt. The album peaked at number six on the Billboard 200 and since its release has been certified quadruple platinum by the RIAA, making Dirt the band's highest selling album to date. The album was a critical success, with Steve Huey of Allmusic praising the album as a "major artistic statement, and the closest they ever came to recording a flat-out masterpiece." Chris Gill of Guitar World called Dirt "huge and foreboding, yet eerie and intimate", and "sublimely dark and brutally honest."
Dirt spawned five singles that reached the top 30 on the Billboard Mainstream Rock chart: "Would?", "Rooster", "Them Bones", "Angry Chair", and "Down in a Hole", and remained on the charts for nearly two years. Alice in Chains was added as openers to Ozzy Osbourne's No More Tours tour. Days before the tour began, Layne Staley broke his foot in an ATV accident, forcing him to use crutches on stage.
Starr left the band shortly after the Hollywood Rock concert in Rio de Janeiro on January 22, 1993, stating that he wanted to spend more time with his family. Staley told Rolling Stone in 1994 about Starr leaving the band, "It was just a difference in priorities. We wanted to continue intense touring and press. Mike was ready to go home." Years later, Starr claimed that he was fired due to his drug addiction.
Starr was replaced by former Ozzy Osbourne bassist Mike Inez. Inez had met Alice in Chains during Ozzy Osbourne's No More Tours tour and became friends with them. When the band was in Brazil, they called Inez to join them and he accepted. Inez wanted to do the shows in Brazil and even got his immunization shots, but the band called him back telling that Starr wanted to do the last two shows in Brazil, so they would meet Inez in London instead. Inez ended up getting sick with his vaccination shots for a couple of days. Inez played his first concert with Alice in Chains on January 27, 1993, at the Camden Underworld in London.
In April 1993, the band recorded two songs with Inez, "What the Hell Have I" and "A Little Bitter", for the Last Action Hero soundtrack. During the summer of 1993, Alice in Chains toured with the alternative music festival Lollapalooza, their last major tour with Staley.
1993–1994: Jar of Flies
Following Alice in Chains' extensive 1993 world tour, Staley said the band "just wanted to go into the studio for a few days with our acoustic guitars and see what happened." "We never really planned on the music we made at that time to be released. But the record label heard it and they really liked it. For us, it was just the experience of four guys getting together in the studio and making some music."
Columbia Records released Alice in Chains' second acoustic-based EP, Jar of Flies, on January 25, 1994. Written and recorded in one week, Jar of Flies debuted at number one on the Billboard 200, becoming the first EP—and first Alice in Chains release—to top the charts.
Paul Evans of Rolling Stone called the EP "darkly gorgeous", and Steve Huey said, "'Jar of Flies' is a low-key stunner, achingly gorgeous and harrowingly sorrowful all at once." Jar of Flies features Alice in Chains' first number-one single on the Mainstream Rock charts, "No Excuses". The second single, "I Stay Away", reached number ten on the Mainstream rock charts, while the final single "Don't Follow", reached number 25. Jar of Flies has been certified triple platinum by the RIAA, with over 2 million copies sold in the United States during its first year. Jar of Flies received two Grammy nominations, Best Hard Rock Performance for "I Stay Away", and Best Recording Package.
After the release of Jar of Flies, Staley entered rehab for heroin addiction. The band was scheduled to tour during the summer of 1994 with Metallica, Suicidal Tendencies, Danzig, and Fight, as well as a slot during Woodstock '94, but while in rehearsal for the tour, Staley began using heroin again. Staley's condition prompted the other band members to cancel all scheduled dates one day before the start of the tour, putting the band on hiatus. Alice in Chains was replaced by Candlebox on the tour. Susan Silver's management office sent out a statement saying that the decision to withdraw from the Metallica tour and Woodstock was "due to health problems within the band."
The band broke up for six months. Kinney told Rolling Stone in 1996, "Nobody was being honest with each other back then. If we had kept going, there was a good chance we would have self-destructed on the road, and we definitely didn't want that to happen in public."
1995–1996: Alice in Chains
While Alice in Chains was inactive during 1995, Staley joined the "grunge supergroup" Mad Season, which also featured Pearl Jam guitarist Mike McCready, bassist John Baker Saunders from The Walkabouts, and Screaming Trees drummer Barrett Martin. Mad Season released one album, Above, for which Staley provided lead vocals and the album artwork. The album spawned a number-two Mainstream Rock chart single, "River of Deceit", as well as a home video release of Live at the Moore.
In April 1995, Alice in Chains entered Bad Animals Studio in Seattle with producer Toby Wright, who had previously worked with Corrosion of Conformity and Slayer. While in the studio, an inferior version of the song "Grind" was leaked to radio, and received major airplay. On October 6, 1995, the band released the studio version of the song to radio via satellite uplink to stem excessive spread of taped copies of the song.
On November 7, 1995, Columbia Records released the eponymous album, Alice in Chains, which debuted at number one on the Billboard 200 and has since been certified triple platinum. Of the album's four singles, "Grind", "Again", "Over Now", and "Heaven Beside You", three feature Cantrell on lead vocals. Jon Wiederhorn of Rolling Stone called the album "liberating and enlightening, the songs achieve a startling, staggering and palpable impact."
On December 12, 1995, the band released the home video The Nona Tapes, a mockumentary featuring interviews with the band members conducted by journalist Nona Weisbaum (played by Jerry Cantrell), and the music video for "Grind".
The song "Got Me Wrong" unexpectedly charted three years after its release on the Sap EP. The song was re-released as a single on the soundtrack for the independent film Clerks in 1994, reaching number seven on the Mainstream Rock Tracks chart. The band opted not to tour in support of Alice in Chains, adding to the rumors of drug abuse.
Alice in Chains resurfaced on April 10, 1996, to perform their first concert in two and a half years for MTV Unplugged, a program featuring all-acoustic set lists. The performance featured some of the band's highest-charting singles, including "Rooster", "Down in a Hole", "Heaven Beside You", "No Excuses" and "Would?", and introduced a new song, "Killer Is Me", with Cantrell on lead vocals. The show marked Alice in Chains' only appearance as a five-piece band, adding second guitarist Scott Olson. A live album of the performance was released in July 1996, debuting at number three on the Billboard 200, and was accompanied by a home video release, both of which received platinum certification by the RIAA. The band also made an appearance on The Late Show with David Letterman on May 10, 1996, performing the songs "Again" and "We Die Young".
Alice in Chains performed four shows supporting the reunited original Kiss lineup on their 1996–97 Alive/Worldwide Tour, including the final live appearance of Layne Staley on July 3, 1996, in Kansas City, Missouri. Shortly after the show, Staley was found unresponsive after he overdosed on heroin and was taken to the hospital. Although he recovered, the band was forced to go on hiatus.
1996–2004: Hiatus, side projects and death of Layne Staley
Although Alice in Chains never officially disbanded, Staley became a recluse, rarely leaving his Seattle condominium following the death of his ex-fiancée Demri Parrott due to a drug overdose on October 29, 1996. "Drugs worked for me for years," Staley told Rolling Stone in February 1996, "and now they're turning against me ... now I'm walking through hell and this sucks. I didn't want my fans to think that heroin was cool. But then I've had fans come up to me and give me the thumbs up, telling me they're high. That's exactly what I didn't want to happen.."
Unable to continue with new Alice in Chains material, Cantrell released his first solo album, Boggy Depot, in 1998, also featuring Sean Kinney and Mike Inez. Cantrell and Kinney were also featured on Metallica's 1998 album Garage Inc., both were guest musicians in the track "Tuesday's Gone", a cover of Lynyrd Skynyrd.
In October 1998, Staley reunited with Alice in Chains to record two new songs, "Get Born Again" and "Died". Originally intended for Cantrell's second solo album, the songs were reworked by Alice in Chains and were released in the fall of 1999 on the box set, Music Bank. The set contains 48 songs, including rarities, demos, and previously released album tracks and singles. The band also released a 15-track compilation titled Nothing Safe: Best of the Box, serving as a sampler for Music Bank, as well as the band's first compilation album; a live album, simply titled Live, released on December 5, 2000; and a second compilation, titled Greatest Hits in 2001.
In November 1998, Layne Staley recorded a cover of Pink Floyd's "Another Brick in the Wall" with the supergroup Class of '99, formed by guitarist Tom Morello of Rage Against the Machine, bassist Martyn LeNoble, drummer Stephen Perkins, both from Jane's Addiction and Porno for Pyros, and keyboardist Matt Serletic. The song was featured on the soundtrack to the 1998 horror/sci-fi film, The Faculty.
After they toured as part of Cantrell's solo band in 1998, Sean Kinney and Queensrÿche guitarist Chris DeGarmo formed a new band called Spys4Darwin. Mike Inez and Sponge lead vocalist Vin Dombroski joined the supergroup soon after. The band released their first and only album in 2001, a 6-track EP entitled Microfish. In June 2001, Mike Inez joined Zakk Wylde's Black Label Society for the remaining dates of Ozzfest, following the departure of bassist Steve Gibb due to medical reasons. Inez joined the band again for their West Coast and Japanese tour in 2003.
By 2002, Cantrell had finished work on his second solo album, Degradation Trip. Written in 1998, the album's lyrical content focused heavily on what Cantrell regarded as the demise of Alice in Chains, which still remained evident as the album approached its June 2002 release. However, in March that year, Cantrell commented, "We're all still around, so it's possible [Alice in Chains] could all do something someday, and I fully hope someday we will."
Reflecting on the band's hiatus in a 2011 interview, Kinney said that Staley wasn't the only one battling addiction. "He was the focal point, like singers are. So they'd single him out. But the truth was, it was pretty much everybody. I definitely had my hand firmly on the wheel going off the cliff. And the reason we pulled back – you know when you stop when you have two #1 records, it's not really the greatest career move – but we did that because we love each other and we didn't want to die in public. And I know for a fact in my heart that if we were to continue that I wouldn't be on the phone right now talking to you. I wouldn't have made it. I just wouldn't have."
After a decade of battling drug addiction, Layne Staley was found dead in his condominium in Seattle on April 19, 2002. The autopsy and toxicology report on Staley's body revealed that he died from a mixture of heroin and cocaine, known as "speedball". The autopsy concluded that Staley died on April 5, two weeks before his body was found. Cantrell dedicated his 2002 solo album, Degradation Trip, released two months after Staley's death, to his memory. Mike Starr later claimed on Celebrity Rehab that he was the last person to see Staley alive, and admitted to feeling guilty about not calling 911 after Staley had warned him against it. "I wish I hadn't been high on benzodiazepine [that night], I wouldn't have just walked out the door," Starr said.
Following Staley's death, Mike Inez joined Heart and toured and recorded with the band from 2002 through 2006. Jerry Cantrell collaborated with several artists such as Heart, Ozzy Osbourne, and Damageplan. In 2004, Cantrell formed the band Cardboard Vampyres along with The Cult guitarist Billy Duffy, Mötley Crüe and Ratt vocalist John Corabi, The Cult bassist Chris Wyse and drummer Josh Howser.
On October 22, 2004, Sony BMG terminated their contract with Alice in Chains, 15 years after the band signed with the label, in 1989.
2005–2008: Reunion shows and reformation
In 2005, Sean Kinney came up with the idea of doing a benefit concert for the victims of the tsunami disaster that struck South Asia in 2004. Kinney made calls to his former bandmates, as well as friends in the music community, such as former Alice in Chains manager Susan Silver. Kinney was surprised by the enthusiastic response to his idea. On February 18, 2005, Jerry Cantrell, Mike Inez, and Sean Kinney reunited to perform for the first time in nine years at K-Rock Tsunami Continued Care Relief Concert in Seattle. The band featured Damageplan vocalist Pat Lachman, as well as other special guests including Maynard James Keenan of Tool and Ann Wilson of Heart. A few months after that experience, the band called Susan Silver and Cantrell's manager Bill Siddons and said they wanted to tour as Alice in Chains again.
Alice in Chains was approached by the producers of the CBS reality show Rock Star about being featured on its second season, but the band turned the offer down. In the show, aspiring singers competed to become the lead vocalist of a featured group.
On March 10, 2006, the surviving members performed at VH1's Decades Rock Live concert, honoring fellow Seattle musicians Ann and Nancy Wilson of Heart. They played "Would?" with vocalist Phil Anselmo of Pantera and Down and bass player Duff McKagan of Guns N' Roses and Velvet Revolver, and at the end of the performance Cantrell dedicated the show to Layne Staley and the late Pantera and Damageplan guitarist Dimebag Darrell. They also played "Rooster" with Comes with the Fall vocalist William DuVall and Ann Wilson. The band followed the concert with a short United States club tour named "Finish What We Started", several festival dates in Europe, and a brief tour in Japan. Duff McKagan again joined the band for the reunion tour, playing rhythm guitar on selected songs. During the tour, the band played a 5-minute video tribute to Staley during the changeover from the electric to acoustic set.
To coincide with the band's reunion, Sony Music released the long-delayed third Alice in Chains compilation, The Essential Alice in Chains, a double album that includes 28 songs.
Jerry Cantrell met William DuVall in Los Angeles in 2000 through a mutual acquaintance who introduced Cantrell to Comes with the Fall's first album. Cantrell started hanging out with the band and occasionally joined them onstage. Between 2001 and 2002, Comes with the Fall was both the opening act on Cantrell's tour for his second solo album, Degradation Trip, and also his backing band, with DuVall singing Staley's parts at the concerts. DuVall joined Alice in Chains as lead singer during the band's reunion concerts in 2006, and made his first public performance with the band at VH1's Decades Rock Live concert. According to Cantrell, it only took one audition for DuVall to get the gig. For his first rehearsal with the band, DuVall sang "Love, Hate, Love". After they finished, Sean Kinney looked at his bandmates and said, "I think the search is pretty much over." According to Mike Inez, DuVall didn't try to emulate Staley, and that's what drew them to him.
Cantrell revealed that before he suggested DuVall for the band, Sean Kinney and Mike Inez invited Sponge and Spys4Darwin lead vocalist Vin Dombroski to jam with the band in their rehearsal space. Dombroski jammed with them to a couple of songs but they did not feel he was right for the band. According to Cantrell, Stone Temple Pilots and Velvet Revolver lead singer Scott Weiland was also interested in joining the band.
Cantrell explained the reunion saying, "We want to celebrate what we did and the memory of our friend. We have played with some [singers] who can actually bring it and add their own thing to it without being a Layne clone. We're not interested in stepping on [Staley's] rich legacy. It's a tough thing to go through. Do you take the Led Zeppelin approach and never play again, because the guy was that important? That's the approach we've taken for a lot of years. Or, do you give it a shot, try something? We're willing to take a chance on it. It's completely a reunion because the three of us who're left are back together. But it's not about separating and forgetting — it's about remembering and moving on." Before the tour, Kinney mentioned in an interview that he would be interested in writing new material, but not as Alice in Chains.
During the VH1 Rock Honors concert honoring Heart on May 12, 2007, Alice in Chains performed Heart's "Barracuda" fronted by country singer Gretchen Wilson. Heart's guitarist Nancy Wilson also joined them onstage.
Alice in Chains joined Velvet Revolver for a run of U.S. and Canadian gigs from August through October 2007. During that tour, the band also performed four special acoustic-only shows, named as "The Acoustic Hour". The acoustic performance at The Rave/Eagles Club in Milwaukee, Wisconsin on August 31, 2007, was recorded for an upcoming live album.
On November 2, 2007, Alice in Chains performed a four-song set at Benaroya Hall in Seattle for Matt Messina and the Symphony Guild's 10th anniversary benefit concert for the Seattle Children's Hospital & Regional Medical Center. In addition to the band's original material, they also played a cover of Led Zeppelin's "Kashmir" while backed by over 200 musicians, including the Northwest Symphony Orchestra and the Northwest Girlchoir.
Sean Kinney said about the band's reunion: "I never called Jerry; he never called me, and said, 'Hey, let's get the band back together,' you know? We had been taking every step extremely cautious and slow, and just doing whatever feels right: If it's genuine and we're doing it for genuine reasons and we're all okay with it then we take a little step. None of us is broke. Nobody needs to be a rock dork, and you know, stroke their ego. I mean, we don't really operate like that. So as long as it felt good and from the right place and it's about making music and carrying on…."
About the pressure being put on DuVall for replacing Staley as lead vocalist, Cantrell said, "To put all that weight on Will's shoulders is unfair. We're just figuring out how we work as a team. Although the band has changed, we've lost Layne, we've added Will, and there was no master plan. Playing again in 2005 felt right, so we did the next thing and toured. We did it step by step. It's more than just making music, and it always has been. We've been friends a long time. We've been more of a family than most, and it had to be okay from here," Cantrell said pointing to his heart.
Former The Doors manager Bill Siddons and his management company, Core Entertainment, co-managed Alice in Chains with original manager Susan Silver from 2005 to 2007.
The band started writing and demoing songs for a new album with DuVall in April 2007. But the band did not show further signs of progress until October 2008, when they announced that they had begun recording with producer Nick Raskulinecz in the studio.
2008–2011: Black Gives Way to Blue and death of Mike Starr
Blabbermouth.net reported on September 5, 2008, that Alice in Chains would enter the studio that October to begin recording a new album for a summer 2009 release. On September 14, 2008, Alice in Chains performed at halftime during the Seattle Seahawks vs San Francisco 49ers game at the CenturyLink Field (then-named Qwest Field) in Seattle. The 12-minute performance for a crowd of 67,000 people featured a cover of Led Zeppelin's "Kashmir" accompanied by the Northwest Symphony Orchestra.
In October 2008, Alice in Chains began recording its fourth studio album at the Foo Fighters' Studio 606 in Los Angeles with producer Nick Raskulinecz. The band did not have a record label at the time and the album was funded by Jerry Cantrell and Sean Kinney. At the Revolver Golden God Awards, Cantrell said that the group had finished recording on March 18, 2009, and were mixing the album for a September release. The recording process was completed on Cantrell's 43rd birthday and also the same day that William DuVall's son was born. In April 2009, it was reported that the new Alice in Chains album would be released by Virgin/EMI, making it the band's first label change in its 20-plus year career. Susan Silver, who started managing Alice in Chains in 1988, now co-manages the band with David Benveniste and his Velvet Hammer firm.
On June 11, 2009, Blabbermouth.net reported that the new album would be titled Black Gives Way to Blue and was officially set to be released on September 29, 2009. The title first appeared on Amazon.com without any prior announcement from the band. In addition, it was announced that Elton John plays piano on the title track, a tribute to Layne Staley written and sung by Cantrell. The album features new vocalist and rhythm guitarist William DuVall sharing vocal duties with lead guitarist/vocalist Jerry Cantrell, who sings lead vocals on most of the songs. DuVall sings lead vocals on the song "Last of My Kind".
On June 30, 2009, the song "A Looking in View" was made available for purchase via iTunes and Amazon, and for a limited time it was available as a free download through the official Alice in Chains website in early July. Although it was not the album's first radio single, Rock stations across the U.S. started playing the song. The music video for "A Looking in View" debuted via the band's official website on July 7, 2009. The song was nominated for a Grammy Award for Best Hard Rock Performance.
"Check My Brain" was released to radio stations as the first official single from the album on August 14, 2009, and was made available for purchase on August 17, 2009. The music video for "Check My Brain" premiered on September 14, 2009. The song was also nominated for a Grammy Award for Best Hard Rock Performance.
To promote the album, the band released an EPK featuring all four of the members being interviewed while the Kiss makeup is being applied on them. An app for iPhone was released on October 27, 2009, featuring songs, music videos, news, photos and networking.
Sean Kinney said about the new album and the fans' mixed reactions about the band moving on after Staley's death: "Look, it's a big move to fucking stand up and move on. Some people, the music connected with them so strongly, their opinions, how they feel about it ... It's amazing that they have such a connection but they seem to act like it happened to them. This happened to us and Layne's family, not them. This is actually our lives. If we're okay with it, why can't you be? This happened to us, this didn't happen to you. But this album isn't about that, it's a bigger universal point. We're all going to fucking die, we're all going to lose somebody, and it fucking hurts. How do you move on? This record is us moving on, and hurting. That, to me, is a victory. I already feel like I've won." "Sometimes people ask us, 'Wouldn't Layne have been pissed off that we did this?' And I tell them it would have been the opposite: he would have been pissed off that it took us so long to do this. We're not doing this for money; there is no money in the music business anymore. Jerry and I funded the whole album, and we spent lots of our own money, because we believe in this. And one of the reasons I'm doing this is so more light is turned on to something where the light was turned off." And Cantrell added: "We've toured around the world, we've lost some friends, we buried a dear friend, and somebody that you just can't fucking replace, and then we've chosen by circumstance to get together again. That turned into 'maybe we can fucking do this.' And that turned into this."
In September 2008, it was announced that Alice in Chains would headline Australia's Soundwave Festival in 2009, alongside Nine Inch Nails and Lamb of God. In February 2009, it was also announced that Alice in Chains would play at the third annual Rock on the Range festival. On August 1, 2009, Alice in Chains performed, along with Mastodon, Avenged Sevenfold, and Glyder, at Marlay Park, Dublin as direct support to Metallica. The band made an appearance on Later... with Jools Holland on November 10, 2009, performing "Lesson Learned", "Black Gives Way to Blue", and "Check My Brain" as the final performance of the episode.
To coincide with the band's European tour, Alice in Chains released its next single, "Your Decision", on November 16, 2009, in the UK and on December 1 in the US. The last single from the album was "Lesson Learned", and it was released to rock radio on June 22, 2010.
Black Gives Way to Blue debuted at No. 5 on the Billboard 200. On May 18, 2010, the album was certified gold by the RIAA for selling over 500,000 copies in the U.S. The singles "Check My Brain" and "Your Decision" reached No. 1 on Billboard's Mainstream Rock Tracks, while "Lesson Learned" reached No. 4. "Check My Brain" was also the band's first #1 song on the Alternative Songs chart, and on the Hot Rock Songs chart, it also reached No. 92 on Billboard's Hot 100, becoming the band's first single to appear on the chart.
Along with Mastodon and Deftones, Alice in Chains toured the United States and Canada in late 2010 on the Blackdiamondskye tour, an amalgam of the three bands' latest album titles (Black Gives Way to Blue, Diamond Eyes, and Crack the Skye).
On March 8, 2011, former Alice in Chains bassist Mike Starr was found dead at his home in Salt Lake City. Police told Reuters they were called to Starr's home at 1:42 pm and found his body; Starr was 44. Reports later surfaced that Starr's roommate had seen him mixing methadone and anxiety medication hours before he was found dead. Later reports indicated Starr's death may have been linked to two different types of antidepressants prescribed to him by his doctor. A public memorial was held for Starr at the Seattle Center's International Fountain on March 20, 2011. A private memorial was also held, which Jerry Cantrell and Sean Kinney attended according to Mike Inez.
2011–2016: The Devil Put Dinosaurs Here
On March 21, 2011, Alice in Chains announced that they were working on a fifth studio album, and both Cantrell and Inez later made statements that they had begun the recording process. The album was expected to be finished by summer of 2012 and released by the end of 2012 or beginning of 2013. While Alice in Chains were writing for the album in 2011, Cantrell underwent surgery on his right shoulder, which delayed recording the new material. In an interview published in May 2012, Cantrell explained, "The thing that set me back is I had some bone spurs [and] cartilage issues in my shoulders. I had the same issue in the other shoulder about six years ago so I've had them both done now. It's a repetitive motion injury from playing." Cantrell could not play guitar for eight months while he was recovering from surgery. While recuperating at home in a sling, Cantrell heard a riff in his head and sang it into his phone. The riff later became the song "Stone".
Alice in Chains played their first concert in nearly 10 months and their first concert after Cantrell's shoulder surgery at the Winstar Casino in Thackerville, Oklahoma on August 13, 2011. The band's only concert in 2012 was a five-song acoustic set on May 31 at the eighth annual MusiCares MAP Fund Benefit Concert honoring Jerry Cantrell.
On December 4, 2012, Cantrell confirmed that the new album had been completed. The first single, "Hollow", debuted online on December 18, available for digital download in January 2013, along with an official music video. On February 13, 2013, Alice in Chains posted on Facebook that their new album title would be an anagram of the letters H V L E N T P S U S D A H I E E O E D T I U R R. The next day they announced that the album would be called The Devil Put Dinosaurs Here, which was released on May 28, 2013, and debuted at No. 2 on the Billboard 200.
To promote the album, Alice in Chains teamed up with Funny or Die for an 11-minute mockumentary titled AIC 23, in which Film Studies professor Alan Poole McLard (played by W. Earl Brown) attempts to make a documentary on Alice in Chains without any help from the actual band, interviewing other musicians instead. Among them are country singer Donnie 'Skeeter' Dollarhide Jr. (played by Jerry Cantrell), Reggae singer Nesta Cleveland (played by William DuVall), Black Metal musician Unta Gleeben Glabben Globben Globin (played by Mike Inez) and the hipster Stanley Eisen (played by Sean Kinney). The video was released on April 3, 2013, and also features cameos by Ann and Nancy Wilson from Heart, Mike McCready from Pearl Jam, Kim Thayil from Soundgarden, Duff McKagan from Guns N' Roses, Brent Hinds and Bill Kelliher from Mastodon, and Lars Ulrich and Robert Trujillo from Metallica.
In June 2013, the band released a pinball game app for iOS as part of Pinball Rocks HD compilation, featuring the single "Hollow", the band's logo and the album artwork, as well as references to the band's previous albums such as Jar of Flies and the self-titled record.
The band released videos for the songs "Hollow", "Stone", "Voices", the title track and "Phantom Limb". "Hollow" and "Stone" reached No. 1 on Billboard's Mainstream Rock Tracks, while "Voices" reached No. 3, and each one of the three songs stayed on the chart for 20 weeks. The Devil Put Dinosaurs Here was nominated for a Grammy Award for Best Engineered Album, Non-Classical in 2014.
Alice in Chains toured extensively in the U.S., Canada, and Europe in 2013 and 2014. In May 2013, the band co-headlined the annual MMRBQ festival with Soundgarden in Camden, New Jersey. Asked in September 2013 if Alice in Chains would make another album, Cantrell replied, "It'll be a while. It's [been] four years since we put the last one out, but at least it's not the gap that was between the last one, so that's about right - about three to four years."
On January 18, 2015, Alice in Chains performed in the halftime show of the NFC Championship Game between the Seattle Seahawks and the Green Bay Packers at CenturyLink Field in Seattle. Cantrell is a lifelong Seahawks fan and often attends their games. In August 2015, Bassist Mike Inez said that the band had been "throwing around riffs for a new record" and "taking it nice and slow". The band toured in the summer of 2015 and the summer of 2016, including select shows opening for Guns N' Roses as part of the Not in This Lifetime... Tour. The band finished their 2016 tour with a concert at the Grand Sierra Resort and Casino in Reno, Nevada on October 8, 2016.
In November 2016, Alice in Chains released a cover of the Rush song "Tears", which was included in the 40th anniversary release of the album 2112. The home video Live Facelift was released on vinyl for the first time on November 25, 2016, as part of Record Store Day's Black Friday event. The album features six songs and only 5000 copies were issued.
To celebrate the tenth anniversary of Record Store Day, on April 22, 2017, Legacy Recordings released "Get Born Again"/"What the Hell Have I", a special 45 RPM double 7" single featuring four tracks remastered and available on vinyl for the first time, "What the Hell Have I", "A Little Bitter", "Get Born Again" and "Died".
2017–present: Rainier Fog
In January 2017, Mike Inez stated in an interview that the band had begun work on a new album. In June 2017, it was reported that the band would return to Studio X (formerly Bad Animals Studios) in Seattle to record a new album later that month, for a tentative early 2018 release. The sessions were helmed by Nick Raskulinecz, who produced the band's last two albums. Studio X was the studio where Alice in Chains recorded its 1995 self-titled album. According to Inez, the band was not signed to a label, having completed its previous two-record contract with the Universal Music Group. "This [upcoming album], we're not sure where it's gonna land ... I mean, we financed ['Black Gives Way To Blue'] on our own too, so we're not too worried about that stuff. We've just gotta get it out to ... a significant label [with worldwide distribution]."
The band started recording their sixth studio album on June 12, 2017. On January 11, 2018, producer Nick Raskulinecz announced via Instagram that the album was nearly finished and that there was only one more day left of recording. During an interview with Guitar World published on April 11, 2018, Jerry Cantrell said that the album was recorded at four studios. After recording at Studio X in Seattle, the band went to Nashville to record vocals and lead guitars at Nick Raskulinecz's home studio. But Cantrell had to take an unexpected break from work for a couple of weeks after getting sick on a trip to Cabo for Sammy Hagar's birthday. Cantrell had the band's engineer, Paul Figueroa, come in to his house and record a lot of his vocals and solos there. The band finished recording the album at the Henson Recording Studios in Los Angeles. Cantrell also said he expects the album to be released "probably sometime this summer."
At the press room of the Rock and Roll Hall of Fame Induction Ceremony on April 14, 2018, Cantrell revealed that Alice in Chains had just signed with BMG, and that they had finished mixing their new album.
Alice in Chains did not perform live in 2017. The band performed their first concert since October 2016 at the House of Blues in Boston on April 28, 2018. In May 2018, Alice in Chains headlined the festivals Carolina Rebellion, Lunatic Luau, Pointfest, Northern Invasion, the WMMR BBQ festival in Philadelphia, and the Rock on the Range festival in Columbus, Ohio on May 18, 2018, in which they paid tribute to Chris Cornell on the first anniversary of his death covering two Soundgarden songs to close their set, "Hunted Down" and "Boot Camp", respectively. At the end of the show, the lights on stage spelled out "CC" for Chris Cornell and "SG" for Soundgarden as feedback rang out. The band started their European tour in June 2018, and headlined the Tons Of Rock Festival in Norway alongside Ozzy Osbourne and Helloween. Alice in Chains are also scheduled to headline KISW's Pain in the Grass festival in August 2018.
The band released a new single, "The One You Know", via Spotify, Amazon and iTunes on May 3, 2018. A music video directed by Adam Mason was released on YouTube the same day. "The One You Know" peaked at No. 9 on Billboard's Mainstream Rock chart.
During an interview with Eddie Trunk on Trunk Nation on May 7, 2018, Jerry Cantrell said that the new album would be released at the end of August 2018. The band also revealed that they talked to director Adam Mason, who is making a dark sci-film, about doing two separate pieces of art and maybe molding them together, and that the music video for "The One You Know" is the first chapter of molding Mason's film and the band's music videos together.
The second single, "So Far Under", was released on Alice in Chains' YouTube channel and on streaming platforms on June 27, 2018. It was also announced that the album would be titled Rainier Fog, with the release date scheduled for August 24, 2018. The album's artwork and the track listing were also revealed on the same day. Jerry Cantrell told Rolling Stone that the title Rainier Fog was inspired by the Mount Rainier in Seattle, and the title track is a tribute to the Seattle music scene. "This song is a little homage to all of that: where we come from, who we are, all of the triumphs, all of the tragedies, lives lived."
The album's third single, "Never Fade", was released on August 10, 2018, through digital and streaming services. The song is a tribute dedicated to frontman William DuVall's grandmother, Chris Cornell, and Alice in Chains' original singer Layne Staley. "Never Fade" peaked at No. 10 on Billboard's Mainstream Rock chart. A music video directed by Adam Mason was released on November 1, 2018, and continued the storyline from the music video of "The One You Know".
In June 2018, William DuVall said in an interview with Swedish website Rocksverige that the music video for "The One You Know" is the first chapter of what the band is hoping will be visuals for all ten songs from the album Rainier Fog, and in addition to that, will be a companion piece to the film that director Adam Mason was shooting.
On August 20, 2018, the baseball team Seattle Mariners hosted a special "Alice in Chains Night" at the Safeco Field in Seattle to promote Rainier Fog, with the team offering the fans a package that included a Safeco Field terrace club ticket, access to a pre-game listening party of the album, an Alice in Chains T-shirt and a Rainier Fog CD. Jerry Cantrell also threw out the ceremonial first pitch and delivered a strike before the Seattle Mariners vs. Houston Astros game.
To mark the launch of the album, on August 21, 2018, Alice in Chains performed an acoustic set at the top of Seattle's Space Needle and debuted the song "Fly". Alice in Chains were the first band to perform on the Space Needle's new "Loupe" glass floor, the world's first and only revolving glass floor 500 feet high. The concert was exclusive for an audience of SiriusXM subscribers. SiriusXM broadcast the concert on their channel Lithium on August 31, 2018.
On August 22, 2018, Alice in Chains sent fans on a Scavenger hunt to access a secret gig that the band would be performing in Seattle on August 24. Ten signed CD copies of Rainier Fog were hidden around the city as a ticket into the show, and the band asked the fans to keep an eye on their Instagram story for details on the 10 hidden locations. Once all 10 albums were found, the band revealed that the secret gig would be at the rock club The Crocodile, with limited tickets available with the purchase of their album at a pop-up event at the same venue the next day. Preview clips of each of the album tracks were posted on the band's Instagram.
The band also commemorated the release of the album with a pop-up museum installation at The Crocodile in Seattle on August 23 and 24. The museum featured rare Alice in Chains photos, limited-edition merchandise and memorabilia that showcased the band's 30+ year career.
Rainier Fog debuted at No. 12 on the Billboard 200 chart, selling 31,000 copies (29,000 in traditional album sales), in its first week of release. The album also debuted at No. 1 on Billboard's Top Rock Albums, Alternative Albums and Hard Rock Albums charts, and at No. 3 on the Vinyl Albums chart. Rainier Fog became Alice in Chains' first top 10 in the UK, peaking at No. 9, and topping UK's Rock & Metal Albums chart. The album has been nominated for a Grammy Award for Best Rock Album.
On December 13, 2018, the teaser of the film Black Antenna featuring the song "Rainier Fog" was released on Alice in Chains' official YouTube channel, with drummer Sean Kinney stating; "We've always toyed with the idea of creating videos for every song on one of our albums. Not only did we do that for Rainier Fog, it got totally out of hand and we made a whole goddamn movie. Everything that will be seen in the videos will be footage from Black Antenna to preface the complete film's release." "Rainier Fog" was released as a single on February 26, 2019. The official trailer for Black Antenna was released on Alice In Chains' YouTube Channel on February 28, 2019. Besides a 90-minute film, a 10-part web-series focused on each track from the album will also be released. Episodes 1 and 2, "The One You Know" and "Rainier Fog", respectively, were released on March 7, 2019. The tenth and last episode, "All I Am", was released on July 17, 2019. The official music video for "Rainier Fog" was released on YouTube on May 15, 2019, and was co-directed by Alice in Chains and Peter Darley Miller, who also directed the band's 2013 mockumentary, AIC 23.
On December 1, 2020, Alice in Chains was honored with the Founders Award from Seattle's Museum of Pop Culture. The benefit concert featured tribute performances from artists such as Ann Wilson, Korn, Metallica, Fishbone, Dallas Green, Billy Corgan, Tad Doyle, members of Soundgarden and Pearl Jam, among others. The event was made available for streaming for free and raised more than $600,000 for the museum in its first night. A compilation featuring highlights from the tribute was made available for streaming on Amazon Music.
Musical style
Although Alice in Chains has been labeled grunge by the mainstream media, Jerry Cantrell identifies the band as primarily heavy metal. He told Guitar World in 1996, "We're a lot of different things ... I don't quite know what the mixture is, but there's definitely metal, blues, rock and roll, maybe a touch of punk. The metal part will never leave, and I never want it to." The Edmonton Journal has stated, "Living and playing in Seattle might have got them the grunge tag, but they've always pretty much been a classic metal band to the core."
Over the course of their career, the band's sound has also been described as alternative metal, sludge metal, doom metal, drone rock, hard rock, and alternative rock. Regarding the band's constant categorization by the media, Cantrell stated "When we first came out we were metal. Then we started being called alternative metal. Then grunge came out and then we were hard rock. And now, since we've started doing this again I've seen us listed as: hard rock, alternative, alternative metal and just straight metal. I walked into an HMV the other day to check out the placement and see what's on and they've got us relegated back into the metal section. Right back where we started!" Drummer Sean Kinney rejects the grunge label, stating in a 2013 interview "I mean, before we first came out there was no grunge, they hadn't invented that word. Before they invented the word grunge we were alternative rock and alternative metal and metal and rock, and we didn't give a shit whatever, we were a rock and roll band!." According to Mike Inez, they were always the metal stepchildren of the Seattle scene.
The band are influenced to a great extent by English metal music; in 2018, Jerry Cantrell proclaimed Black Sabbath guitarist Tony Iommi as "one of his biggest" inspirations, whilst Layne Staley named his "first influences" as Black Sabbath and Deep Purple. Cantrell adjudged English rock singer Elton John as "the artist that made me want to be a musician." In addition, members of Alice in Chains have cited artists including AC/DC, Accept, Aerosmith, The Beatles, Black Flag, David Bowie, John Coltrane, Miles Davis, Dio, Funkadelic, Hanoi Rocks, Heart, Jimi Hendrix, Iron Maiden, King's X, Kiss, Led Zeppelin, Metallica, Motörhead, Mudhoney, Pink Floyd, Queensrÿche, the Rolling Stones, Rush, Scorpions, Soundgarden, The Stooges, Television, Thin Lizzy, U2, UFO, Van Halen, The Velvet Underground, Hank Williams, and ZZ Top as influential or inspirational.
Jerry Cantrell's guitar style combines "pummeling riffs and expansive guitar textures" to create "slow, brooding minor-key grinds". He is also recognized for his natural ability to blend acoustic and electric guitars. While down-tuned, distorted guitars mixed with Staley's distinctive "snarl-to-a-scream" vocals appealed to heavy metal fans, the band also had "a sense of melody that was undeniable," which introduced Alice in Chains to a much wider audience outside of the heavy metal underground.
According to Stephen Thomas Erlewine of AllMusic, Alice in Chains' sound has a "Black Sabbath-style riffing and an unconventional vocal style." The band has been described by Erlewine as "hard enough for metal fans, yet their dark subject matter and punky attack placed them among the front ranks of the Seattle-based grunge bands." Three of the band's releases feature acoustic music, and while the band initially kept these releases separate, Alice in Chains' self-titled album combined the styles to form "a bleak, nihilistic sound that balanced grinding hard rock with subtly textured acoustic numbers."
Alice in Chains is also noted for the unique vocal harmonies of Staley (or DuVall) and Cantrell, which included overlapping passages, dual lead vocals, and trademark harmonies typically separated by a major third. Cantrell said it was Staley who gave him the self-assurance to sing his own songs. Alyssa Burrows said the band's distinctive sound "came from Staley's vocal style and his lyrics dealing with personal struggles and addiction." Staley's songs were often considered "dark", with themes such as drug abuse, depression, and suicide, while Cantrell's lyrics often dealt with personal relationships.
Legacy
Alice in Chains has sold over 14 million records in the United States, and over 30 million records worldwide, released two number-one albums, had 23 top 40 singles, and has received eleven Grammy Award nominations. The band was ranked number 34 on VH1's 100 Greatest Artists of Hard Rock. Alice in Chains was named 15th greatest live band by Hit Parader, with Staley placing as 27th-greatest heavy metal vocalist of all time. The band's second album, Dirt, was named 5th-best album in the last two decades by Close-Up magazine in 2008.
In October 2008, Guitar World ranked Cantrell's solo in "Man in the Box" at No. 77 on their list of "100 Greatest Guitar Solos". In August 2009, Alice in Chains won the Kerrang! Icon Award.
In November 2011, Jar of Flies was ranked number four on Guitar World magazine's top ten list of guitar albums of 1994. It was also featured in Guitar World magazine's "Superunknown: 50 Iconic Albums That Defined 1994" list, and in May 2014, the EP was placed at number five on Loudwire's "10 Best Hard Rock Albums of 1994" list.
Pantera and Damageplan guitarist Dimebag Darrell had expressed his admiration for Cantrell's guitar work in an interview for Guitar International in 1995, saying that "the layering and the honest feel that Jerry Cantrell gets on [Alice in Chains' Dirt] record is worth a lot more than someone who plays five million notes."
Street musician Wesley Willis wrote a song about the band entitled "Alice in Chains", featured on his 1996 album Feel The Power.
Billy Corgan revealed that the song "Bleeding The Orchid" from The Smashing Pumpkins' 2007 album Zeitgeist has a bit of an homage to Alice in Chains in the harmonies and was indirectly inspired by the death of Staley.
Elton John stated that he is a fan of Alice in Chains and a big admirer of Cantrell. According to Jon Wiederhorn of MTV, Godsmack has "sonically followed Alice in Chains' lead while adding their own distinctive edge." Godsmack singer and founder Sully Erna has also cited Staley as his primary influence. Godsmack was named after the Alice in Chains song "God Smack" from the album Dirt. Staind has covered Alice in Chains' song "Nutshell" live, which appears on the compilation The Singles: 1996-2006, and also wrote a song entitled "Layne", dedicated to Staley, on the album 14 Shades of Grey. Three Days Grace also performs a cover of "Rooster", which can be seen on the DVD Live at the Palace. Other bands that have been influenced by Alice in Chains include 10 Years, Avenged Sevenfold, Breaking Benjamin, Creed, Dallas Green, Days of the New, Hoobastank, Incubus, Korn, Manic Street Preachers, Mudvayne, Nickelback, A Pale Horse Named Death, Puddle of Mudd, Queens of the Stone Age, Rains, Seether, Smile Empty Soul, Stone Sour, Tantric, Taproot, and Theory of a Deadman. Metallica said they have always wanted to tour with the band, citing Alice in Chains as a major inspiration for their 2008 release, Death Magnetic.
Alice in Chains has also had a significant influence on modern heavy metal. Their songs were covered by various metal bands such as In Flames, Opeth, Dream Theater, Secrets of the Moon, Suicide Silence, 36 Crazyfists, Cane Hill, Ektomorf, Dritt Skitt, Grave and Thou, who described their 2018 EP Rhea Sylvia as "a melodic grunge, Alice in Chains homage." In 2009, Anders Fridén of Swedish melodic death metal band In Flames cited Layne Staley as an inspiration for his vocals on the band's later albums. In addition to fellow musicians, the band has also received praise from critics, with Steve Huey of AllMusic calling them "one of the best metal bands of the '90s" upon reviewing the 1999 compilation Nothing Safe.
In 2009, the Vitamin String Quartet released the album The String Quartet Tribute to Alice in Chains, featuring instrumental versions on viola, violin and cello of 12 of the band's biggest hits.
In August 2015, journalist David de Sola published the biography Alice in Chains: The Untold Story. An updated version covering the period from 2014 to 2017 was published in November 2018. Neither the band nor their management had any involvement with the book. Sources tied directly to the band were interviewed instead.
In June 2017, Metal Injection ranked Alice in Chains at number 1 on their list of "10 Heaviest Grunge Bands". Ozzy Osbourne ranked Facelift among his list of "10 Favorite Metal Albums".
The claymation dolls of the band members used in the music video for "I Stay Away" are on display at the Rock and Roll Hall of Fame museum in Cleveland, Ohio.
Band members
Current members
Jerry Cantrell – lead guitar, lead vocals (1987–2002, 2005–present), rhythm guitar (1987–2002, 2005–2006)
Sean Kinney – drums, backing vocals (1987–2002, 2005–present)
Mike Inez – bass, backing vocals (1993–2002, 2005–present)
William DuVall – lead vocals, rhythm guitar (2006–present)
Former members
Layne Staley – lead vocals (1987–2002), occasional rhythm guitar (1992–2002; died 2002)
Mike Starr – bass, backing vocals (1987–1993; died 2011)
Touring members
Maynard James Keenan – lead vocals (2005)
Timeline
Discography
Studio albums
Facelift (1990)
Dirt (1992)
Alice in Chains (1995)
Black Gives Way to Blue (2009)
The Devil Put Dinosaurs Here (2013)
Rainier Fog (2018)
Awards and nominations
References
External links
VH1 Classic: Alice In Chains
1987 establishments in Washington (state)
2002 disestablishments in Washington (state)
2005 establishments in Washington (state)
American alternative metal musical groups
Columbia Records artists
EMI Records artists
American grunge groups
Heavy metal musical groups from Washington (state)
Kerrang! Awards winners
Musical groups established in 1987
Musical groups disestablished in 2002
Musical groups reestablished in 2005
Musical groups from Seattle
Musical quartets
Virgin Records artists
Capitol Records artists | false | [
"How Did You Know is an extended play (EP) by Jamaican electronic dance musician Kurtis Mantronik. The EP was released in 2003 on the Southern Fried Records label, and features British singer Mim on vocals. \"How Did You Know (77 Strings)\" was released as a single from the EP, reaching number 16 on the UK Singles Chart and number three in Romania. The title track peaked atop the US Billboard Hot Dance Club Play chart in May 2004.\n\nTrack listing\n \"How Did You Know (Radio Edit)\" (Kurtis Mantronik, Miriam Grey - vocals) – 3:33 \n \"How Did You Know (Original Vocal)\" (Mantronik, Grey - vocals) – 6:35 \n \"How Did You Know (Tony Senghore Vocal)\" (Mantronik, Grey - vocals, Tony Senghore - remix) – 6:31 \n \"77 Strings (Original Instrumental)\" (Mantronik) – 7:57\n\nCharts\nThe following chart entries are for \"How Did You Know (77 Strings)\".\n\nWeekly charts\n\nYear-end charts\n\nRelease history\n\nReferences\n\nExternal links\n \n\n2003 EPs\n2003 singles\nAlbums produced by Kurtis Mantronik\nSouthern Fried Records albums",
"Empty Estate is an EP by American indie rock act Wild Nothing, released on May 14, 2013 on Captured Tracks in the US and Bella Union in the UK. Produced by founding member and primary recording artist Jack Tatum, the EP was released nine months after the band's second studio album, Nocturne (2012).\n\nRegarding the release, Jack Tatum stated: \"I feel like I’ve accomplished in seven songs, on this EP, what I really wanted to do with Nocturne, which is to find a way to compromise all of the things [I am] musically. I think I did that more with this EP than I have everything in the past.\"\n\nBackground and recording\nIn 2012, Wild Nothing released its second studio album, Nocturne, to widespread critical acclaim and a significantly increasing fanbase. Influenced by the band's busy tour schedule, songwriter and primary recording artist Jack Tatum began crafting a follow-up EP, stating: \"I had a lot of frustration in touring Nocturne, kind of in my own head really, not to do with anyone else. [...] It’s such a stupid thing to complain about and I am aware of that, but when you do it constantly it sort of deadens you to your own music and you kinda hate your own songs after a while. I started to realize that I wasn’t happy with what I’d been doing.\"\n\nTatum subsequently began writing and recording the EP during a three-month break from touring at the end of 2012. Tatum noted, \"It’s pretty difficult for me to write on tour; I usually build up general ideas on tour – not necessarily even musical ideas, just whatever’s inspiring me at that moment. As much as I love touring, I’m always so happy to be home, and I seem to have these creative bursts when we first get off the road – I guess that’s how the new EP came about.\"\n\nWriting and composition\nPrior to recording the EP, Tatum was influenced by David Bowie, Brian Eno and David Byrne, stating: \"This EP is rooted in [the] past year [where] I got on this kick of rediscovering massive influential artists and digging deep into their records. Almost like researching why this person is so respected, like David Bowie, Brian Eno, and David Byrne. So I listened to a lot of Talking Heads, Eno’s rock albums, as well as his early ambient albums, and of course, Bowie’s Berlin trilogy.\"\n\nRegarding the EP's track listing, Tatum noted, \"Some of the songs are very poppy but I tried to make them stranger, awkward or weird at certain points.\"\n\nRelease\nRegarding the decision to write and record an EP not long after Nocturne'''s release, Tatum noted: \"You can do whatever you want with [an EP], like it’s a free pass. People don’t really expect as much from an EP, so you’re free to do what you want to do. And that is what was so empowering about this particular experience for me. I never needed to take a step back and obsess over what kind of music I was making. I didn’t think that some people might think it’s weird that I’m making this electronic pop song or I’m making this really ambient, droney song. I just did what I wanted to do and it felt good not to think about the outside perspective. I do that so much. I spend a lot of time worrying about what other people think. But this EP was the most fun I’ve had writing and recording in a long time. [...] A lot of times bands put out EPs with the leftover tracks that didn’t make it onto the album for some reason. But this was not like that for me.\"\n\nArtworkEmpty Estates artwork features paintings by New York-based artist Eric Shaw. Regarding Shaw, Jack Tatum stated, \"[He's] a friend of a friend. I sent the record to a friend of mine and he said, “This sounds a lot like what my friend’s art looks like.” So I browsed through tons of his paintings and really fell in love. It really fit what I was trying to do with this EP. I almost feel like while I was making it I kind of thought of it as pop art in a way.\"\n\nCritical reception\n\nEmpty Estate received positive reviews upon its release. At Metacritic, which assigns a normalized rating out of 100 to reviews from mainstream critics, the album has received an average score of 72, based on 13 reviews, indicating \"generally favorable reviews\". AllMusic writer Fred Thomas said: \"Empty Estate, while every bit as polished (if not more so) than the fancifully recorded Nocturne, sets itself apart by exploring different absent-minded stylistic detours on almost every track. [...] Ultimately any of these tracks could be the jumping-off point for an entire album's worth of material, and hearing them all together makes for a more interesting presentation.\" Consequence of Sound'''s Amanda Koellner issued the album with a positive review, praising the track, \"A Dancing Shell\": \"Funky dance track (yes, you read that correctly) “A Dancing Shell”, with its symphony of synths and addictive groove, is so impressive that you begin to wonder why Tatum didn’t slap a few more tracks on the record and call it a full-length. A trippy black and white photo graced the cover of Gemini, a teal and peach design on Nocturne, and this EP is dressed exactly how it sounds: a little more vibrant and a little more stoned.\"\n\nIan Cohen of Pitchfork, however, gave the album a mixed review, stating: \"[Tatum's] second EP, Empty Estate, has the same relationship to its full-length predecessor as the Golden Haze EP did his debut: it’s noticeably bolder, sounds more expensive and crafted with live performance in mind. But it’s also the first time Tatum’s music hasn't improved on what came before.\" Paste's Mack Hayden noted, \"It’s no Nocturne or Gemini, but Tatum still proves to be a visionary consistent in his trajectory of progressing confidence. It’s hard to call this a misstep at all, but its best quality is keeping hope alive for what will come next.\"\n\nTrack listing\n\nPersonnel\nMusicians\nJack Tatum - vocals, guitar, bass guitar, piano, synthesizer, percussion, drum programming \nTommy Gardner - drums (1 and 5)\nAl Carlson - baritone saxophone (6)\n\nRecording personnel\nJack Tatum - producer\nAl Carlson - engineering, mixing\nClaudius Mittendorfer - mixing (4)\n\nArtwork\nEric Shaw - paintings and illustrations\nRyan McCardle - design and layout\n\nReferences\n\n2013 EPs\nWild Nothing albums"
]
|
[
"Alice in Chains",
"Jar of Flies (1993-1994)",
"What is the Jar of Flies?",
"Columbia Records released Alice in Chains' second acoustic-based EP, Jar of Flies, on January 25, 1994.",
"How did this EP do?",
"Written and recorded in one week, Jar of Flies debuted at number one on the Billboard 200, becoming the first EP--and first Alice in Chains release--to top the charts."
]
| C_68e092ce2d2f47e9ba7736c8e2acfae9_0 | Are there any other interesting aspects about this article? | 3 | Besides debuting at number one, is there any other interesting aspects about Jar of Flies? | Alice in Chains | Following Alice in Chains' extensive 1993 world tour, Staley said the band "just wanted to go into the studio for a few days with our acoustic guitars and see what happened". "We never really planned on the music we made at that time to be released. But the record label heard it and they really liked it. For us, it was just the experience of four guys getting together in the studio and making some music." Columbia Records released Alice in Chains' second acoustic-based EP, Jar of Flies, on January 25, 1994. Written and recorded in one week, Jar of Flies debuted at number one on the Billboard 200, becoming the first EP--and first Alice in Chains release--to top the charts. Paul Evans of Rolling Stone called the EP "darkly gorgeous", and Steve Huey said, "'Jar of Flies' is a low-key stunner, achingly gorgeous and harrowingly sorrowful all at once". Jar of Flies features Alice in Chains' first number-one single on the Mainstream Rock charts, "No Excuses". The second single, "I Stay Away", reached number ten on the Mainstream rock charts, while the final single "Don't Follow", reached number 25. Jar of Flies has been certified triple platinum by the RIAA, with over 2 million copies sold in the United States during its first year. After the release of Jar of Flies, Staley entered rehab for heroin addiction. The band was scheduled to tour during the summer of 1994 with Metallica, Suicidal Tendencies, Danzig, and Fight, as well as a slot during Woodstock '94, but while in rehearsal for the tour, Staley began using heroin again. Staley's condition prompted the other band members to cancel all scheduled dates one day before the start of the tour, putting the band on hiatus. Alice in Chains was replaced by Candlebox on the tour. Susan Silver's management office sent out a statement saying that the decision to withdraw from the Metallica tour and Woodstock was "due to health problems within the band." The band broke up for six months. Kinney told Rolling Stone in 1996, "Nobody was being honest with each other back then. If we had kept going, there was a good chance we would have self-destructed on the road, and we definitely didn't want that to happen in public." CANNOTANSWER | After the release of Jar of Flies, Staley entered rehab for heroin addiction. | Alice in Chains (often abbreviated as AIC) is an American rock band from Seattle, Washington, formed in 1987 by guitarist and vocalist Jerry Cantrell and drummer Sean Kinney, who later recruited bassist Mike Starr and lead vocalist Layne Staley. Starr was replaced by Mike Inez in 1993. William DuVall joined the band in 2006 as co-lead vocalist and rhythm guitarist, replacing Staley, who died in 2002. The band took its name from Staley's previous group, the glam metal band Alice N' Chains.
Often associated with grunge music, Alice in Chains' sound incorporates heavy metal elements. The band is known for its distinctive vocal style, which often included the harmonized vocals between Staley and Cantrell (and later Cantrell and DuVall). Cantrell started to sing lead vocals on the 1992 acoustic EP Sap, and his role continued to grow in the following albums, making Alice in Chains a two-vocal band.
Alice in Chains rose to international fame as part of the grunge movement of the early 1990s, along with other Seattle bands such as Nirvana, Pearl Jam, and Soundgarden. They achieved success during the era with the albums Facelift (1990), Dirt (1992), Alice in Chains (1995), as well as the EP Jar of Flies (1994). Although never officially disbanding, Alice in Chains was plagued by extended inactivity from 1996 onward, due to Staley's substance abuse, which resulted in his death in 2002. The band regrouped in 2006, with DuVall taking over as lead vocalist full-time, and they have since released three more albums: Black Gives Way to Blue (2009), The Devil Put Dinosaurs Here (2013), and Rainier Fog (2018).
Alice in Chains have sold over 30 million records worldwide, and over 14 million records in the US alone. The band has had 18 Top 10 songs on Billboard's Mainstream Rock Tracks chart, 5 No. 1 hits, and received 11 Grammy Award nominations. The band was ranked number 34 on VH1's 100 Greatest Artists of Hard Rock and was ranked as the 15th greatest live band by Hit Parader. Since its formation, Alice in Chains has released six studio albums, three EPs, three live albums, four compilations, two DVDs, 43 music videos, and 32 singles.
History
1984–1989: Formation and early years
Before the formation of Alice in Chains, then-drummer Layne Staley landed his first gig as a vocalist when he auditioned to sing for a local glam metal band known as Sleze after receiving some encouragement from his stepbrother Ken Elmer. Other members of this group at that time were guitarists Johnny Bacolas and Zoli Semanate, drummer James Bergstrom, and bassist Byron Hansen. This band went through several lineup changes culminating with Nick Pollock as their sole guitarist and Bacolas switching to bass before discussions arose about changing their name to Alice in Chains. This was prompted by a conversation that Bacolas had with Russ Klatt, the lead singer of Slaughter Haus 5, about backstage passes. One of the passes said "Welcome to Wonderland", and they started talking about that being a reference to Alice in Wonderland, until Klatt said, "What about Alice in Chains? Put her in bondage and stuff like that." Bacolas thought the name "Alice in Chains" was cool and brought it up to his Sleze bandmates and everyone liked it, so they decided to change the name of the band. Due to concerns over the reference to female bondage, the group ultimately chose to spell it differently as Alice N' Chains to allay any parental concerns, though Staley's mother Nancy McCallum has said she was still not happy with this name at first. According to Bacolas, the decision to use the apostrophe-N combination in their name had nothing to do with the Los Angeles band Guns N' Roses. The name change happened in 1986, a year before Guns N' Roses became a household name with their first album Appetite for Destruction, released in July 1987.
Staley met guitarist Jerry Cantrell at a party in Seattle around August 1987. A few months prior, Cantrell had watched a concert of Alice N' Chains in his hometown at the Tacoma Little Theatre, and was impressed by Staley's voice. Cantrell was homeless after being kicked out of his family's house, so Staley invited Cantrell to live with him at the rehearsal studio Music Bank, and the two struggling musicians became roommates.
Alice N' Chains soon disbanded, and Staley joined a funk band. Cantrell's band, Diamond Lie, broke up and he wanted to form a new band, so Staley gave him the phone number of Melinda Starr, the girlfriend of drummer Sean Kinney, so that Cantrell could talk to him. Cantrell called the number and set up a meeting with Kinney. Kinney and his girlfriend went to the Music Bank and listened to Cantrell's demos, who mentioned that they needed a bass player to jam with them, and he had someone in mind: Mike Starr, with whom Cantrell had played in a band in Burien called Gypsy Rose. Kinney then mentioned that his girlfriend was actually Mike Starr's sister, and that he had been playing in bands together with Starr since they were kids. Kinney called Starr and a few days later he started jamming with him and Cantrell at the Music Bank, but they didn't have a singer.
Staley's funk band also required a guitarist at the time, and Staley asked Cantrell to join as a sideman. Cantrell agreed on condition that Staley join his band. Because Cantrell, Starr and Kinney wanted Staley to be their lead singer, they started auditioning terrible lead singers in front of Staley to send a hint. The last straw for Staley was when they auditioned a male stripper – he decided to join the band after that. Eventually the funk project broke up, and in 1987 Staley joined Cantrell's band on a full-time basis. Two weeks after the band's formation, they were playing a gig at Washington State University, trying to fill out a 40-minute set with a couple of original songs along with Hanoi Rocks and David Bowie covers.
The band played a couple of gigs in clubs around the Pacific Northwest, calling themselves different monikers, including Diamond Lie, the name of Cantrell's previous band, and "Fuck", before eventually adopting the name that Staley's previous band had initially flirted with, Alice in Chains. Staley contacted his former bandmates and asked for permission to use the name. Nick Pollock wasn't particularly thrilled about it at the time and thought he should come up with a different name, but ultimately both he and James Bergstrom gave Staley their blessing to use the name.
Local promoter Randy Hauser became aware of the band at a concert and offered to pay for demo recordings. However, one day before the band was due to record at the Music Bank studio in Washington, police shut down the studio during the biggest cannabis raid in the history of the state. The final demo, completed in 1988, was named The Treehouse Tapes and found its way to music managers Kelly Curtis and Susan Silver, who also managed the Seattle-based band Soundgarden. Curtis and Silver passed the demo on to Columbia Records' A&R representative Nick Terzo, who set up an appointment with label president Don Ienner. Based on The Treehouse Tapes, Terzo signed Alice in Chains to Columbia in 1989. The band also recorded another untitled demo over a three-month period in 1989. This recording can be found on the bootleg release Sweet Alice.
1990–1992: Facelift and Sap
Alice in Chains soon became a top priority of the label, which released the band's first official recording in July 1990, a promotional EP called We Die Young. The EP's lead single, "We Die Young", became a hit on metal radio. After its success, the label rushed Alice in Chains' debut album into production with producer Dave Jerden. Cantrell stated the album was intended to have a "moody aura" that was a "direct result of the brooding atmosphere and feel of Seattle."
The resulting album, Facelift, was released on August 21, 1990, peaking at number 42 in the summer of 1991 on the Billboard 200 chart. Facelift was not an instant success, selling under 40,000 copies in the first six months of release, until MTV added "Man in the Box" to regular daytime rotation. The single hit number 18 on the Mainstream rock charts, with the album's follow up single, "Sea of Sorrow", reaching number 27, and in six weeks Facelift sold 400,000 copies in the US. The album was a critical success, with Steve Huey of AllMusic citing Facelift as "one of the most important records in establishing an audience for grunge and alternative rock among hard rock and heavy metal listeners." Sammy Hagar claimed he invited the band to tour with Van Halen after he saw the music video for "Man In The Box" on MTV.
Facelift was certified gold by the Recording Industry Association of America (RIAA) for selling a half-million copies on September 11, 1991, becoming the first album from Seattle's Grunge movement to be certified gold. The band continued to hone its audience, opening for such artists as Iggy Pop, Van Halen, Poison, and Extreme. Facelift has since been certified triple-platinum by the RIAA, for shipments of three million copies in the United States.
The concert at the Moore Theatre in Seattle on December 22, 1990, was recorded and released on VHS on July 30, 1991, as Live Facelift. It features five live songs and three music videos. The home video has been certified gold by the RIAA for sales exceeding 50,000 copies.
In early 1991, Alice in Chains landed the opening slot for the Clash of the Titans tour with Anthrax, Megadeth, and Slayer, exposing the band to a wide metal audience but receiving mainly poor reception. Alice in Chains was nominated for a Best Hard Rock Performance Grammy Award in 1992 for "Man in the Box" but lost to Van Halen for their 1991 album For Unlawful Carnal Knowledge.
Following the tour, Alice in Chains entered the studio to record demos for its next album, but ended up recording five acoustic songs instead. While in the studio, drummer Sean Kinney had a dream about "making an EP called Sap". The band decided "not to mess with fate", and on February 4, 1992, Alice in Chains released their second EP, Sap. The EP was released while Nirvana's Nevermind was at the top of the Billboard 200 charts, resulting in a rising popularity of Seattle-based bands, and of the term "grunge music". Sap was certified gold within two weeks. The EP features Cantrell on lead vocals on the opening track, "Brother", and guest vocals by Ann Wilson from the band Heart, who joined Staley and Cantrell for the choruses of "Brother" and "Am I Inside". The EP also features Mark Arm of Mudhoney and Chris Cornell of Soundgarden, who shared vocals with Staley and Cantrell on the song "Right Turn", credited to "Alice Mudgarden" in the liner notes.
In 1992, Alice in Chains appeared in the Cameron Crowe film Singles, performing as a "bar band". The band also contributed the song "Would?" to the film's soundtrack, whose video received an award for Best Video from a Film at the 1993 MTV Video Music Awards.
1992–1993: Dirt
In March 1992, the band returned to the studio. With new songs written primarily on the road, the material has an overall darker feel than Facelift, with six of the album's thirteen songs dealing with the subject of addiction. "We did a lot of soul searching on this album. There's a lot of intense feelings." Cantrell said, "We deal with our daily demons through music. All of the poison that builds up during the day we cleanse when we play."
On September 29, 1992, Alice in Chains released its second album, Dirt. The album peaked at number six on the Billboard 200 and since its release has been certified quadruple platinum by the RIAA, making Dirt the band's highest selling album to date. The album was a critical success, with Steve Huey of Allmusic praising the album as a "major artistic statement, and the closest they ever came to recording a flat-out masterpiece." Chris Gill of Guitar World called Dirt "huge and foreboding, yet eerie and intimate", and "sublimely dark and brutally honest."
Dirt spawned five singles that reached the top 30 on the Billboard Mainstream Rock chart: "Would?", "Rooster", "Them Bones", "Angry Chair", and "Down in a Hole", and remained on the charts for nearly two years. Alice in Chains was added as openers to Ozzy Osbourne's No More Tours tour. Days before the tour began, Layne Staley broke his foot in an ATV accident, forcing him to use crutches on stage.
Starr left the band shortly after the Hollywood Rock concert in Rio de Janeiro on January 22, 1993, stating that he wanted to spend more time with his family. Staley told Rolling Stone in 1994 about Starr leaving the band, "It was just a difference in priorities. We wanted to continue intense touring and press. Mike was ready to go home." Years later, Starr claimed that he was fired due to his drug addiction.
Starr was replaced by former Ozzy Osbourne bassist Mike Inez. Inez had met Alice in Chains during Ozzy Osbourne's No More Tours tour and became friends with them. When the band was in Brazil, they called Inez to join them and he accepted. Inez wanted to do the shows in Brazil and even got his immunization shots, but the band called him back telling that Starr wanted to do the last two shows in Brazil, so they would meet Inez in London instead. Inez ended up getting sick with his vaccination shots for a couple of days. Inez played his first concert with Alice in Chains on January 27, 1993, at the Camden Underworld in London.
In April 1993, the band recorded two songs with Inez, "What the Hell Have I" and "A Little Bitter", for the Last Action Hero soundtrack. During the summer of 1993, Alice in Chains toured with the alternative music festival Lollapalooza, their last major tour with Staley.
1993–1994: Jar of Flies
Following Alice in Chains' extensive 1993 world tour, Staley said the band "just wanted to go into the studio for a few days with our acoustic guitars and see what happened." "We never really planned on the music we made at that time to be released. But the record label heard it and they really liked it. For us, it was just the experience of four guys getting together in the studio and making some music."
Columbia Records released Alice in Chains' second acoustic-based EP, Jar of Flies, on January 25, 1994. Written and recorded in one week, Jar of Flies debuted at number one on the Billboard 200, becoming the first EP—and first Alice in Chains release—to top the charts.
Paul Evans of Rolling Stone called the EP "darkly gorgeous", and Steve Huey said, "'Jar of Flies' is a low-key stunner, achingly gorgeous and harrowingly sorrowful all at once." Jar of Flies features Alice in Chains' first number-one single on the Mainstream Rock charts, "No Excuses". The second single, "I Stay Away", reached number ten on the Mainstream rock charts, while the final single "Don't Follow", reached number 25. Jar of Flies has been certified triple platinum by the RIAA, with over 2 million copies sold in the United States during its first year. Jar of Flies received two Grammy nominations, Best Hard Rock Performance for "I Stay Away", and Best Recording Package.
After the release of Jar of Flies, Staley entered rehab for heroin addiction. The band was scheduled to tour during the summer of 1994 with Metallica, Suicidal Tendencies, Danzig, and Fight, as well as a slot during Woodstock '94, but while in rehearsal for the tour, Staley began using heroin again. Staley's condition prompted the other band members to cancel all scheduled dates one day before the start of the tour, putting the band on hiatus. Alice in Chains was replaced by Candlebox on the tour. Susan Silver's management office sent out a statement saying that the decision to withdraw from the Metallica tour and Woodstock was "due to health problems within the band."
The band broke up for six months. Kinney told Rolling Stone in 1996, "Nobody was being honest with each other back then. If we had kept going, there was a good chance we would have self-destructed on the road, and we definitely didn't want that to happen in public."
1995–1996: Alice in Chains
While Alice in Chains was inactive during 1995, Staley joined the "grunge supergroup" Mad Season, which also featured Pearl Jam guitarist Mike McCready, bassist John Baker Saunders from The Walkabouts, and Screaming Trees drummer Barrett Martin. Mad Season released one album, Above, for which Staley provided lead vocals and the album artwork. The album spawned a number-two Mainstream Rock chart single, "River of Deceit", as well as a home video release of Live at the Moore.
In April 1995, Alice in Chains entered Bad Animals Studio in Seattle with producer Toby Wright, who had previously worked with Corrosion of Conformity and Slayer. While in the studio, an inferior version of the song "Grind" was leaked to radio, and received major airplay. On October 6, 1995, the band released the studio version of the song to radio via satellite uplink to stem excessive spread of taped copies of the song.
On November 7, 1995, Columbia Records released the eponymous album, Alice in Chains, which debuted at number one on the Billboard 200 and has since been certified triple platinum. Of the album's four singles, "Grind", "Again", "Over Now", and "Heaven Beside You", three feature Cantrell on lead vocals. Jon Wiederhorn of Rolling Stone called the album "liberating and enlightening, the songs achieve a startling, staggering and palpable impact."
On December 12, 1995, the band released the home video The Nona Tapes, a mockumentary featuring interviews with the band members conducted by journalist Nona Weisbaum (played by Jerry Cantrell), and the music video for "Grind".
The song "Got Me Wrong" unexpectedly charted three years after its release on the Sap EP. The song was re-released as a single on the soundtrack for the independent film Clerks in 1994, reaching number seven on the Mainstream Rock Tracks chart. The band opted not to tour in support of Alice in Chains, adding to the rumors of drug abuse.
Alice in Chains resurfaced on April 10, 1996, to perform their first concert in two and a half years for MTV Unplugged, a program featuring all-acoustic set lists. The performance featured some of the band's highest-charting singles, including "Rooster", "Down in a Hole", "Heaven Beside You", "No Excuses" and "Would?", and introduced a new song, "Killer Is Me", with Cantrell on lead vocals. The show marked Alice in Chains' only appearance as a five-piece band, adding second guitarist Scott Olson. A live album of the performance was released in July 1996, debuting at number three on the Billboard 200, and was accompanied by a home video release, both of which received platinum certification by the RIAA. The band also made an appearance on The Late Show with David Letterman on May 10, 1996, performing the songs "Again" and "We Die Young".
Alice in Chains performed four shows supporting the reunited original Kiss lineup on their 1996–97 Alive/Worldwide Tour, including the final live appearance of Layne Staley on July 3, 1996, in Kansas City, Missouri. Shortly after the show, Staley was found unresponsive after he overdosed on heroin and was taken to the hospital. Although he recovered, the band was forced to go on hiatus.
1996–2004: Hiatus, side projects and death of Layne Staley
Although Alice in Chains never officially disbanded, Staley became a recluse, rarely leaving his Seattle condominium following the death of his ex-fiancée Demri Parrott due to a drug overdose on October 29, 1996. "Drugs worked for me for years," Staley told Rolling Stone in February 1996, "and now they're turning against me ... now I'm walking through hell and this sucks. I didn't want my fans to think that heroin was cool. But then I've had fans come up to me and give me the thumbs up, telling me they're high. That's exactly what I didn't want to happen.."
Unable to continue with new Alice in Chains material, Cantrell released his first solo album, Boggy Depot, in 1998, also featuring Sean Kinney and Mike Inez. Cantrell and Kinney were also featured on Metallica's 1998 album Garage Inc., both were guest musicians in the track "Tuesday's Gone", a cover of Lynyrd Skynyrd.
In October 1998, Staley reunited with Alice in Chains to record two new songs, "Get Born Again" and "Died". Originally intended for Cantrell's second solo album, the songs were reworked by Alice in Chains and were released in the fall of 1999 on the box set, Music Bank. The set contains 48 songs, including rarities, demos, and previously released album tracks and singles. The band also released a 15-track compilation titled Nothing Safe: Best of the Box, serving as a sampler for Music Bank, as well as the band's first compilation album; a live album, simply titled Live, released on December 5, 2000; and a second compilation, titled Greatest Hits in 2001.
In November 1998, Layne Staley recorded a cover of Pink Floyd's "Another Brick in the Wall" with the supergroup Class of '99, formed by guitarist Tom Morello of Rage Against the Machine, bassist Martyn LeNoble, drummer Stephen Perkins, both from Jane's Addiction and Porno for Pyros, and keyboardist Matt Serletic. The song was featured on the soundtrack to the 1998 horror/sci-fi film, The Faculty.
After they toured as part of Cantrell's solo band in 1998, Sean Kinney and Queensrÿche guitarist Chris DeGarmo formed a new band called Spys4Darwin. Mike Inez and Sponge lead vocalist Vin Dombroski joined the supergroup soon after. The band released their first and only album in 2001, a 6-track EP entitled Microfish. In June 2001, Mike Inez joined Zakk Wylde's Black Label Society for the remaining dates of Ozzfest, following the departure of bassist Steve Gibb due to medical reasons. Inez joined the band again for their West Coast and Japanese tour in 2003.
By 2002, Cantrell had finished work on his second solo album, Degradation Trip. Written in 1998, the album's lyrical content focused heavily on what Cantrell regarded as the demise of Alice in Chains, which still remained evident as the album approached its June 2002 release. However, in March that year, Cantrell commented, "We're all still around, so it's possible [Alice in Chains] could all do something someday, and I fully hope someday we will."
Reflecting on the band's hiatus in a 2011 interview, Kinney said that Staley wasn't the only one battling addiction. "He was the focal point, like singers are. So they'd single him out. But the truth was, it was pretty much everybody. I definitely had my hand firmly on the wheel going off the cliff. And the reason we pulled back – you know when you stop when you have two #1 records, it's not really the greatest career move – but we did that because we love each other and we didn't want to die in public. And I know for a fact in my heart that if we were to continue that I wouldn't be on the phone right now talking to you. I wouldn't have made it. I just wouldn't have."
After a decade of battling drug addiction, Layne Staley was found dead in his condominium in Seattle on April 19, 2002. The autopsy and toxicology report on Staley's body revealed that he died from a mixture of heroin and cocaine, known as "speedball". The autopsy concluded that Staley died on April 5, two weeks before his body was found. Cantrell dedicated his 2002 solo album, Degradation Trip, released two months after Staley's death, to his memory. Mike Starr later claimed on Celebrity Rehab that he was the last person to see Staley alive, and admitted to feeling guilty about not calling 911 after Staley had warned him against it. "I wish I hadn't been high on benzodiazepine [that night], I wouldn't have just walked out the door," Starr said.
Following Staley's death, Mike Inez joined Heart and toured and recorded with the band from 2002 through 2006. Jerry Cantrell collaborated with several artists such as Heart, Ozzy Osbourne, and Damageplan. In 2004, Cantrell formed the band Cardboard Vampyres along with The Cult guitarist Billy Duffy, Mötley Crüe and Ratt vocalist John Corabi, The Cult bassist Chris Wyse and drummer Josh Howser.
On October 22, 2004, Sony BMG terminated their contract with Alice in Chains, 15 years after the band signed with the label, in 1989.
2005–2008: Reunion shows and reformation
In 2005, Sean Kinney came up with the idea of doing a benefit concert for the victims of the tsunami disaster that struck South Asia in 2004. Kinney made calls to his former bandmates, as well as friends in the music community, such as former Alice in Chains manager Susan Silver. Kinney was surprised by the enthusiastic response to his idea. On February 18, 2005, Jerry Cantrell, Mike Inez, and Sean Kinney reunited to perform for the first time in nine years at K-Rock Tsunami Continued Care Relief Concert in Seattle. The band featured Damageplan vocalist Pat Lachman, as well as other special guests including Maynard James Keenan of Tool and Ann Wilson of Heart. A few months after that experience, the band called Susan Silver and Cantrell's manager Bill Siddons and said they wanted to tour as Alice in Chains again.
Alice in Chains was approached by the producers of the CBS reality show Rock Star about being featured on its second season, but the band turned the offer down. In the show, aspiring singers competed to become the lead vocalist of a featured group.
On March 10, 2006, the surviving members performed at VH1's Decades Rock Live concert, honoring fellow Seattle musicians Ann and Nancy Wilson of Heart. They played "Would?" with vocalist Phil Anselmo of Pantera and Down and bass player Duff McKagan of Guns N' Roses and Velvet Revolver, and at the end of the performance Cantrell dedicated the show to Layne Staley and the late Pantera and Damageplan guitarist Dimebag Darrell. They also played "Rooster" with Comes with the Fall vocalist William DuVall and Ann Wilson. The band followed the concert with a short United States club tour named "Finish What We Started", several festival dates in Europe, and a brief tour in Japan. Duff McKagan again joined the band for the reunion tour, playing rhythm guitar on selected songs. During the tour, the band played a 5-minute video tribute to Staley during the changeover from the electric to acoustic set.
To coincide with the band's reunion, Sony Music released the long-delayed third Alice in Chains compilation, The Essential Alice in Chains, a double album that includes 28 songs.
Jerry Cantrell met William DuVall in Los Angeles in 2000 through a mutual acquaintance who introduced Cantrell to Comes with the Fall's first album. Cantrell started hanging out with the band and occasionally joined them onstage. Between 2001 and 2002, Comes with the Fall was both the opening act on Cantrell's tour for his second solo album, Degradation Trip, and also his backing band, with DuVall singing Staley's parts at the concerts. DuVall joined Alice in Chains as lead singer during the band's reunion concerts in 2006, and made his first public performance with the band at VH1's Decades Rock Live concert. According to Cantrell, it only took one audition for DuVall to get the gig. For his first rehearsal with the band, DuVall sang "Love, Hate, Love". After they finished, Sean Kinney looked at his bandmates and said, "I think the search is pretty much over." According to Mike Inez, DuVall didn't try to emulate Staley, and that's what drew them to him.
Cantrell revealed that before he suggested DuVall for the band, Sean Kinney and Mike Inez invited Sponge and Spys4Darwin lead vocalist Vin Dombroski to jam with the band in their rehearsal space. Dombroski jammed with them to a couple of songs but they did not feel he was right for the band. According to Cantrell, Stone Temple Pilots and Velvet Revolver lead singer Scott Weiland was also interested in joining the band.
Cantrell explained the reunion saying, "We want to celebrate what we did and the memory of our friend. We have played with some [singers] who can actually bring it and add their own thing to it without being a Layne clone. We're not interested in stepping on [Staley's] rich legacy. It's a tough thing to go through. Do you take the Led Zeppelin approach and never play again, because the guy was that important? That's the approach we've taken for a lot of years. Or, do you give it a shot, try something? We're willing to take a chance on it. It's completely a reunion because the three of us who're left are back together. But it's not about separating and forgetting — it's about remembering and moving on." Before the tour, Kinney mentioned in an interview that he would be interested in writing new material, but not as Alice in Chains.
During the VH1 Rock Honors concert honoring Heart on May 12, 2007, Alice in Chains performed Heart's "Barracuda" fronted by country singer Gretchen Wilson. Heart's guitarist Nancy Wilson also joined them onstage.
Alice in Chains joined Velvet Revolver for a run of U.S. and Canadian gigs from August through October 2007. During that tour, the band also performed four special acoustic-only shows, named as "The Acoustic Hour". The acoustic performance at The Rave/Eagles Club in Milwaukee, Wisconsin on August 31, 2007, was recorded for an upcoming live album.
On November 2, 2007, Alice in Chains performed a four-song set at Benaroya Hall in Seattle for Matt Messina and the Symphony Guild's 10th anniversary benefit concert for the Seattle Children's Hospital & Regional Medical Center. In addition to the band's original material, they also played a cover of Led Zeppelin's "Kashmir" while backed by over 200 musicians, including the Northwest Symphony Orchestra and the Northwest Girlchoir.
Sean Kinney said about the band's reunion: "I never called Jerry; he never called me, and said, 'Hey, let's get the band back together,' you know? We had been taking every step extremely cautious and slow, and just doing whatever feels right: If it's genuine and we're doing it for genuine reasons and we're all okay with it then we take a little step. None of us is broke. Nobody needs to be a rock dork, and you know, stroke their ego. I mean, we don't really operate like that. So as long as it felt good and from the right place and it's about making music and carrying on…."
About the pressure being put on DuVall for replacing Staley as lead vocalist, Cantrell said, "To put all that weight on Will's shoulders is unfair. We're just figuring out how we work as a team. Although the band has changed, we've lost Layne, we've added Will, and there was no master plan. Playing again in 2005 felt right, so we did the next thing and toured. We did it step by step. It's more than just making music, and it always has been. We've been friends a long time. We've been more of a family than most, and it had to be okay from here," Cantrell said pointing to his heart.
Former The Doors manager Bill Siddons and his management company, Core Entertainment, co-managed Alice in Chains with original manager Susan Silver from 2005 to 2007.
The band started writing and demoing songs for a new album with DuVall in April 2007. But the band did not show further signs of progress until October 2008, when they announced that they had begun recording with producer Nick Raskulinecz in the studio.
2008–2011: Black Gives Way to Blue and death of Mike Starr
Blabbermouth.net reported on September 5, 2008, that Alice in Chains would enter the studio that October to begin recording a new album for a summer 2009 release. On September 14, 2008, Alice in Chains performed at halftime during the Seattle Seahawks vs San Francisco 49ers game at the CenturyLink Field (then-named Qwest Field) in Seattle. The 12-minute performance for a crowd of 67,000 people featured a cover of Led Zeppelin's "Kashmir" accompanied by the Northwest Symphony Orchestra.
In October 2008, Alice in Chains began recording its fourth studio album at the Foo Fighters' Studio 606 in Los Angeles with producer Nick Raskulinecz. The band did not have a record label at the time and the album was funded by Jerry Cantrell and Sean Kinney. At the Revolver Golden God Awards, Cantrell said that the group had finished recording on March 18, 2009, and were mixing the album for a September release. The recording process was completed on Cantrell's 43rd birthday and also the same day that William DuVall's son was born. In April 2009, it was reported that the new Alice in Chains album would be released by Virgin/EMI, making it the band's first label change in its 20-plus year career. Susan Silver, who started managing Alice in Chains in 1988, now co-manages the band with David Benveniste and his Velvet Hammer firm.
On June 11, 2009, Blabbermouth.net reported that the new album would be titled Black Gives Way to Blue and was officially set to be released on September 29, 2009. The title first appeared on Amazon.com without any prior announcement from the band. In addition, it was announced that Elton John plays piano on the title track, a tribute to Layne Staley written and sung by Cantrell. The album features new vocalist and rhythm guitarist William DuVall sharing vocal duties with lead guitarist/vocalist Jerry Cantrell, who sings lead vocals on most of the songs. DuVall sings lead vocals on the song "Last of My Kind".
On June 30, 2009, the song "A Looking in View" was made available for purchase via iTunes and Amazon, and for a limited time it was available as a free download through the official Alice in Chains website in early July. Although it was not the album's first radio single, Rock stations across the U.S. started playing the song. The music video for "A Looking in View" debuted via the band's official website on July 7, 2009. The song was nominated for a Grammy Award for Best Hard Rock Performance.
"Check My Brain" was released to radio stations as the first official single from the album on August 14, 2009, and was made available for purchase on August 17, 2009. The music video for "Check My Brain" premiered on September 14, 2009. The song was also nominated for a Grammy Award for Best Hard Rock Performance.
To promote the album, the band released an EPK featuring all four of the members being interviewed while the Kiss makeup is being applied on them. An app for iPhone was released on October 27, 2009, featuring songs, music videos, news, photos and networking.
Sean Kinney said about the new album and the fans' mixed reactions about the band moving on after Staley's death: "Look, it's a big move to fucking stand up and move on. Some people, the music connected with them so strongly, their opinions, how they feel about it ... It's amazing that they have such a connection but they seem to act like it happened to them. This happened to us and Layne's family, not them. This is actually our lives. If we're okay with it, why can't you be? This happened to us, this didn't happen to you. But this album isn't about that, it's a bigger universal point. We're all going to fucking die, we're all going to lose somebody, and it fucking hurts. How do you move on? This record is us moving on, and hurting. That, to me, is a victory. I already feel like I've won." "Sometimes people ask us, 'Wouldn't Layne have been pissed off that we did this?' And I tell them it would have been the opposite: he would have been pissed off that it took us so long to do this. We're not doing this for money; there is no money in the music business anymore. Jerry and I funded the whole album, and we spent lots of our own money, because we believe in this. And one of the reasons I'm doing this is so more light is turned on to something where the light was turned off." And Cantrell added: "We've toured around the world, we've lost some friends, we buried a dear friend, and somebody that you just can't fucking replace, and then we've chosen by circumstance to get together again. That turned into 'maybe we can fucking do this.' And that turned into this."
In September 2008, it was announced that Alice in Chains would headline Australia's Soundwave Festival in 2009, alongside Nine Inch Nails and Lamb of God. In February 2009, it was also announced that Alice in Chains would play at the third annual Rock on the Range festival. On August 1, 2009, Alice in Chains performed, along with Mastodon, Avenged Sevenfold, and Glyder, at Marlay Park, Dublin as direct support to Metallica. The band made an appearance on Later... with Jools Holland on November 10, 2009, performing "Lesson Learned", "Black Gives Way to Blue", and "Check My Brain" as the final performance of the episode.
To coincide with the band's European tour, Alice in Chains released its next single, "Your Decision", on November 16, 2009, in the UK and on December 1 in the US. The last single from the album was "Lesson Learned", and it was released to rock radio on June 22, 2010.
Black Gives Way to Blue debuted at No. 5 on the Billboard 200. On May 18, 2010, the album was certified gold by the RIAA for selling over 500,000 copies in the U.S. The singles "Check My Brain" and "Your Decision" reached No. 1 on Billboard's Mainstream Rock Tracks, while "Lesson Learned" reached No. 4. "Check My Brain" was also the band's first #1 song on the Alternative Songs chart, and on the Hot Rock Songs chart, it also reached No. 92 on Billboard's Hot 100, becoming the band's first single to appear on the chart.
Along with Mastodon and Deftones, Alice in Chains toured the United States and Canada in late 2010 on the Blackdiamondskye tour, an amalgam of the three bands' latest album titles (Black Gives Way to Blue, Diamond Eyes, and Crack the Skye).
On March 8, 2011, former Alice in Chains bassist Mike Starr was found dead at his home in Salt Lake City. Police told Reuters they were called to Starr's home at 1:42 pm and found his body; Starr was 44. Reports later surfaced that Starr's roommate had seen him mixing methadone and anxiety medication hours before he was found dead. Later reports indicated Starr's death may have been linked to two different types of antidepressants prescribed to him by his doctor. A public memorial was held for Starr at the Seattle Center's International Fountain on March 20, 2011. A private memorial was also held, which Jerry Cantrell and Sean Kinney attended according to Mike Inez.
2011–2016: The Devil Put Dinosaurs Here
On March 21, 2011, Alice in Chains announced that they were working on a fifth studio album, and both Cantrell and Inez later made statements that they had begun the recording process. The album was expected to be finished by summer of 2012 and released by the end of 2012 or beginning of 2013. While Alice in Chains were writing for the album in 2011, Cantrell underwent surgery on his right shoulder, which delayed recording the new material. In an interview published in May 2012, Cantrell explained, "The thing that set me back is I had some bone spurs [and] cartilage issues in my shoulders. I had the same issue in the other shoulder about six years ago so I've had them both done now. It's a repetitive motion injury from playing." Cantrell could not play guitar for eight months while he was recovering from surgery. While recuperating at home in a sling, Cantrell heard a riff in his head and sang it into his phone. The riff later became the song "Stone".
Alice in Chains played their first concert in nearly 10 months and their first concert after Cantrell's shoulder surgery at the Winstar Casino in Thackerville, Oklahoma on August 13, 2011. The band's only concert in 2012 was a five-song acoustic set on May 31 at the eighth annual MusiCares MAP Fund Benefit Concert honoring Jerry Cantrell.
On December 4, 2012, Cantrell confirmed that the new album had been completed. The first single, "Hollow", debuted online on December 18, available for digital download in January 2013, along with an official music video. On February 13, 2013, Alice in Chains posted on Facebook that their new album title would be an anagram of the letters H V L E N T P S U S D A H I E E O E D T I U R R. The next day they announced that the album would be called The Devil Put Dinosaurs Here, which was released on May 28, 2013, and debuted at No. 2 on the Billboard 200.
To promote the album, Alice in Chains teamed up with Funny or Die for an 11-minute mockumentary titled AIC 23, in which Film Studies professor Alan Poole McLard (played by W. Earl Brown) attempts to make a documentary on Alice in Chains without any help from the actual band, interviewing other musicians instead. Among them are country singer Donnie 'Skeeter' Dollarhide Jr. (played by Jerry Cantrell), Reggae singer Nesta Cleveland (played by William DuVall), Black Metal musician Unta Gleeben Glabben Globben Globin (played by Mike Inez) and the hipster Stanley Eisen (played by Sean Kinney). The video was released on April 3, 2013, and also features cameos by Ann and Nancy Wilson from Heart, Mike McCready from Pearl Jam, Kim Thayil from Soundgarden, Duff McKagan from Guns N' Roses, Brent Hinds and Bill Kelliher from Mastodon, and Lars Ulrich and Robert Trujillo from Metallica.
In June 2013, the band released a pinball game app for iOS as part of Pinball Rocks HD compilation, featuring the single "Hollow", the band's logo and the album artwork, as well as references to the band's previous albums such as Jar of Flies and the self-titled record.
The band released videos for the songs "Hollow", "Stone", "Voices", the title track and "Phantom Limb". "Hollow" and "Stone" reached No. 1 on Billboard's Mainstream Rock Tracks, while "Voices" reached No. 3, and each one of the three songs stayed on the chart for 20 weeks. The Devil Put Dinosaurs Here was nominated for a Grammy Award for Best Engineered Album, Non-Classical in 2014.
Alice in Chains toured extensively in the U.S., Canada, and Europe in 2013 and 2014. In May 2013, the band co-headlined the annual MMRBQ festival with Soundgarden in Camden, New Jersey. Asked in September 2013 if Alice in Chains would make another album, Cantrell replied, "It'll be a while. It's [been] four years since we put the last one out, but at least it's not the gap that was between the last one, so that's about right - about three to four years."
On January 18, 2015, Alice in Chains performed in the halftime show of the NFC Championship Game between the Seattle Seahawks and the Green Bay Packers at CenturyLink Field in Seattle. Cantrell is a lifelong Seahawks fan and often attends their games. In August 2015, Bassist Mike Inez said that the band had been "throwing around riffs for a new record" and "taking it nice and slow". The band toured in the summer of 2015 and the summer of 2016, including select shows opening for Guns N' Roses as part of the Not in This Lifetime... Tour. The band finished their 2016 tour with a concert at the Grand Sierra Resort and Casino in Reno, Nevada on October 8, 2016.
In November 2016, Alice in Chains released a cover of the Rush song "Tears", which was included in the 40th anniversary release of the album 2112. The home video Live Facelift was released on vinyl for the first time on November 25, 2016, as part of Record Store Day's Black Friday event. The album features six songs and only 5000 copies were issued.
To celebrate the tenth anniversary of Record Store Day, on April 22, 2017, Legacy Recordings released "Get Born Again"/"What the Hell Have I", a special 45 RPM double 7" single featuring four tracks remastered and available on vinyl for the first time, "What the Hell Have I", "A Little Bitter", "Get Born Again" and "Died".
2017–present: Rainier Fog
In January 2017, Mike Inez stated in an interview that the band had begun work on a new album. In June 2017, it was reported that the band would return to Studio X (formerly Bad Animals Studios) in Seattle to record a new album later that month, for a tentative early 2018 release. The sessions were helmed by Nick Raskulinecz, who produced the band's last two albums. Studio X was the studio where Alice in Chains recorded its 1995 self-titled album. According to Inez, the band was not signed to a label, having completed its previous two-record contract with the Universal Music Group. "This [upcoming album], we're not sure where it's gonna land ... I mean, we financed ['Black Gives Way To Blue'] on our own too, so we're not too worried about that stuff. We've just gotta get it out to ... a significant label [with worldwide distribution]."
The band started recording their sixth studio album on June 12, 2017. On January 11, 2018, producer Nick Raskulinecz announced via Instagram that the album was nearly finished and that there was only one more day left of recording. During an interview with Guitar World published on April 11, 2018, Jerry Cantrell said that the album was recorded at four studios. After recording at Studio X in Seattle, the band went to Nashville to record vocals and lead guitars at Nick Raskulinecz's home studio. But Cantrell had to take an unexpected break from work for a couple of weeks after getting sick on a trip to Cabo for Sammy Hagar's birthday. Cantrell had the band's engineer, Paul Figueroa, come in to his house and record a lot of his vocals and solos there. The band finished recording the album at the Henson Recording Studios in Los Angeles. Cantrell also said he expects the album to be released "probably sometime this summer."
At the press room of the Rock and Roll Hall of Fame Induction Ceremony on April 14, 2018, Cantrell revealed that Alice in Chains had just signed with BMG, and that they had finished mixing their new album.
Alice in Chains did not perform live in 2017. The band performed their first concert since October 2016 at the House of Blues in Boston on April 28, 2018. In May 2018, Alice in Chains headlined the festivals Carolina Rebellion, Lunatic Luau, Pointfest, Northern Invasion, the WMMR BBQ festival in Philadelphia, and the Rock on the Range festival in Columbus, Ohio on May 18, 2018, in which they paid tribute to Chris Cornell on the first anniversary of his death covering two Soundgarden songs to close their set, "Hunted Down" and "Boot Camp", respectively. At the end of the show, the lights on stage spelled out "CC" for Chris Cornell and "SG" for Soundgarden as feedback rang out. The band started their European tour in June 2018, and headlined the Tons Of Rock Festival in Norway alongside Ozzy Osbourne and Helloween. Alice in Chains are also scheduled to headline KISW's Pain in the Grass festival in August 2018.
The band released a new single, "The One You Know", via Spotify, Amazon and iTunes on May 3, 2018. A music video directed by Adam Mason was released on YouTube the same day. "The One You Know" peaked at No. 9 on Billboard's Mainstream Rock chart.
During an interview with Eddie Trunk on Trunk Nation on May 7, 2018, Jerry Cantrell said that the new album would be released at the end of August 2018. The band also revealed that they talked to director Adam Mason, who is making a dark sci-film, about doing two separate pieces of art and maybe molding them together, and that the music video for "The One You Know" is the first chapter of molding Mason's film and the band's music videos together.
The second single, "So Far Under", was released on Alice in Chains' YouTube channel and on streaming platforms on June 27, 2018. It was also announced that the album would be titled Rainier Fog, with the release date scheduled for August 24, 2018. The album's artwork and the track listing were also revealed on the same day. Jerry Cantrell told Rolling Stone that the title Rainier Fog was inspired by the Mount Rainier in Seattle, and the title track is a tribute to the Seattle music scene. "This song is a little homage to all of that: where we come from, who we are, all of the triumphs, all of the tragedies, lives lived."
The album's third single, "Never Fade", was released on August 10, 2018, through digital and streaming services. The song is a tribute dedicated to frontman William DuVall's grandmother, Chris Cornell, and Alice in Chains' original singer Layne Staley. "Never Fade" peaked at No. 10 on Billboard's Mainstream Rock chart. A music video directed by Adam Mason was released on November 1, 2018, and continued the storyline from the music video of "The One You Know".
In June 2018, William DuVall said in an interview with Swedish website Rocksverige that the music video for "The One You Know" is the first chapter of what the band is hoping will be visuals for all ten songs from the album Rainier Fog, and in addition to that, will be a companion piece to the film that director Adam Mason was shooting.
On August 20, 2018, the baseball team Seattle Mariners hosted a special "Alice in Chains Night" at the Safeco Field in Seattle to promote Rainier Fog, with the team offering the fans a package that included a Safeco Field terrace club ticket, access to a pre-game listening party of the album, an Alice in Chains T-shirt and a Rainier Fog CD. Jerry Cantrell also threw out the ceremonial first pitch and delivered a strike before the Seattle Mariners vs. Houston Astros game.
To mark the launch of the album, on August 21, 2018, Alice in Chains performed an acoustic set at the top of Seattle's Space Needle and debuted the song "Fly". Alice in Chains were the first band to perform on the Space Needle's new "Loupe" glass floor, the world's first and only revolving glass floor 500 feet high. The concert was exclusive for an audience of SiriusXM subscribers. SiriusXM broadcast the concert on their channel Lithium on August 31, 2018.
On August 22, 2018, Alice in Chains sent fans on a Scavenger hunt to access a secret gig that the band would be performing in Seattle on August 24. Ten signed CD copies of Rainier Fog were hidden around the city as a ticket into the show, and the band asked the fans to keep an eye on their Instagram story for details on the 10 hidden locations. Once all 10 albums were found, the band revealed that the secret gig would be at the rock club The Crocodile, with limited tickets available with the purchase of their album at a pop-up event at the same venue the next day. Preview clips of each of the album tracks were posted on the band's Instagram.
The band also commemorated the release of the album with a pop-up museum installation at The Crocodile in Seattle on August 23 and 24. The museum featured rare Alice in Chains photos, limited-edition merchandise and memorabilia that showcased the band's 30+ year career.
Rainier Fog debuted at No. 12 on the Billboard 200 chart, selling 31,000 copies (29,000 in traditional album sales), in its first week of release. The album also debuted at No. 1 on Billboard's Top Rock Albums, Alternative Albums and Hard Rock Albums charts, and at No. 3 on the Vinyl Albums chart. Rainier Fog became Alice in Chains' first top 10 in the UK, peaking at No. 9, and topping UK's Rock & Metal Albums chart. The album has been nominated for a Grammy Award for Best Rock Album.
On December 13, 2018, the teaser of the film Black Antenna featuring the song "Rainier Fog" was released on Alice in Chains' official YouTube channel, with drummer Sean Kinney stating; "We've always toyed with the idea of creating videos for every song on one of our albums. Not only did we do that for Rainier Fog, it got totally out of hand and we made a whole goddamn movie. Everything that will be seen in the videos will be footage from Black Antenna to preface the complete film's release." "Rainier Fog" was released as a single on February 26, 2019. The official trailer for Black Antenna was released on Alice In Chains' YouTube Channel on February 28, 2019. Besides a 90-minute film, a 10-part web-series focused on each track from the album will also be released. Episodes 1 and 2, "The One You Know" and "Rainier Fog", respectively, were released on March 7, 2019. The tenth and last episode, "All I Am", was released on July 17, 2019. The official music video for "Rainier Fog" was released on YouTube on May 15, 2019, and was co-directed by Alice in Chains and Peter Darley Miller, who also directed the band's 2013 mockumentary, AIC 23.
On December 1, 2020, Alice in Chains was honored with the Founders Award from Seattle's Museum of Pop Culture. The benefit concert featured tribute performances from artists such as Ann Wilson, Korn, Metallica, Fishbone, Dallas Green, Billy Corgan, Tad Doyle, members of Soundgarden and Pearl Jam, among others. The event was made available for streaming for free and raised more than $600,000 for the museum in its first night. A compilation featuring highlights from the tribute was made available for streaming on Amazon Music.
Musical style
Although Alice in Chains has been labeled grunge by the mainstream media, Jerry Cantrell identifies the band as primarily heavy metal. He told Guitar World in 1996, "We're a lot of different things ... I don't quite know what the mixture is, but there's definitely metal, blues, rock and roll, maybe a touch of punk. The metal part will never leave, and I never want it to." The Edmonton Journal has stated, "Living and playing in Seattle might have got them the grunge tag, but they've always pretty much been a classic metal band to the core."
Over the course of their career, the band's sound has also been described as alternative metal, sludge metal, doom metal, drone rock, hard rock, and alternative rock. Regarding the band's constant categorization by the media, Cantrell stated "When we first came out we were metal. Then we started being called alternative metal. Then grunge came out and then we were hard rock. And now, since we've started doing this again I've seen us listed as: hard rock, alternative, alternative metal and just straight metal. I walked into an HMV the other day to check out the placement and see what's on and they've got us relegated back into the metal section. Right back where we started!" Drummer Sean Kinney rejects the grunge label, stating in a 2013 interview "I mean, before we first came out there was no grunge, they hadn't invented that word. Before they invented the word grunge we were alternative rock and alternative metal and metal and rock, and we didn't give a shit whatever, we were a rock and roll band!." According to Mike Inez, they were always the metal stepchildren of the Seattle scene.
The band are influenced to a great extent by English metal music; in 2018, Jerry Cantrell proclaimed Black Sabbath guitarist Tony Iommi as "one of his biggest" inspirations, whilst Layne Staley named his "first influences" as Black Sabbath and Deep Purple. Cantrell adjudged English rock singer Elton John as "the artist that made me want to be a musician." In addition, members of Alice in Chains have cited artists including AC/DC, Accept, Aerosmith, The Beatles, Black Flag, David Bowie, John Coltrane, Miles Davis, Dio, Funkadelic, Hanoi Rocks, Heart, Jimi Hendrix, Iron Maiden, King's X, Kiss, Led Zeppelin, Metallica, Motörhead, Mudhoney, Pink Floyd, Queensrÿche, the Rolling Stones, Rush, Scorpions, Soundgarden, The Stooges, Television, Thin Lizzy, U2, UFO, Van Halen, The Velvet Underground, Hank Williams, and ZZ Top as influential or inspirational.
Jerry Cantrell's guitar style combines "pummeling riffs and expansive guitar textures" to create "slow, brooding minor-key grinds". He is also recognized for his natural ability to blend acoustic and electric guitars. While down-tuned, distorted guitars mixed with Staley's distinctive "snarl-to-a-scream" vocals appealed to heavy metal fans, the band also had "a sense of melody that was undeniable," which introduced Alice in Chains to a much wider audience outside of the heavy metal underground.
According to Stephen Thomas Erlewine of AllMusic, Alice in Chains' sound has a "Black Sabbath-style riffing and an unconventional vocal style." The band has been described by Erlewine as "hard enough for metal fans, yet their dark subject matter and punky attack placed them among the front ranks of the Seattle-based grunge bands." Three of the band's releases feature acoustic music, and while the band initially kept these releases separate, Alice in Chains' self-titled album combined the styles to form "a bleak, nihilistic sound that balanced grinding hard rock with subtly textured acoustic numbers."
Alice in Chains is also noted for the unique vocal harmonies of Staley (or DuVall) and Cantrell, which included overlapping passages, dual lead vocals, and trademark harmonies typically separated by a major third. Cantrell said it was Staley who gave him the self-assurance to sing his own songs. Alyssa Burrows said the band's distinctive sound "came from Staley's vocal style and his lyrics dealing with personal struggles and addiction." Staley's songs were often considered "dark", with themes such as drug abuse, depression, and suicide, while Cantrell's lyrics often dealt with personal relationships.
Legacy
Alice in Chains has sold over 14 million records in the United States, and over 30 million records worldwide, released two number-one albums, had 23 top 40 singles, and has received eleven Grammy Award nominations. The band was ranked number 34 on VH1's 100 Greatest Artists of Hard Rock. Alice in Chains was named 15th greatest live band by Hit Parader, with Staley placing as 27th-greatest heavy metal vocalist of all time. The band's second album, Dirt, was named 5th-best album in the last two decades by Close-Up magazine in 2008.
In October 2008, Guitar World ranked Cantrell's solo in "Man in the Box" at No. 77 on their list of "100 Greatest Guitar Solos". In August 2009, Alice in Chains won the Kerrang! Icon Award.
In November 2011, Jar of Flies was ranked number four on Guitar World magazine's top ten list of guitar albums of 1994. It was also featured in Guitar World magazine's "Superunknown: 50 Iconic Albums That Defined 1994" list, and in May 2014, the EP was placed at number five on Loudwire's "10 Best Hard Rock Albums of 1994" list.
Pantera and Damageplan guitarist Dimebag Darrell had expressed his admiration for Cantrell's guitar work in an interview for Guitar International in 1995, saying that "the layering and the honest feel that Jerry Cantrell gets on [Alice in Chains' Dirt] record is worth a lot more than someone who plays five million notes."
Street musician Wesley Willis wrote a song about the band entitled "Alice in Chains", featured on his 1996 album Feel The Power.
Billy Corgan revealed that the song "Bleeding The Orchid" from The Smashing Pumpkins' 2007 album Zeitgeist has a bit of an homage to Alice in Chains in the harmonies and was indirectly inspired by the death of Staley.
Elton John stated that he is a fan of Alice in Chains and a big admirer of Cantrell. According to Jon Wiederhorn of MTV, Godsmack has "sonically followed Alice in Chains' lead while adding their own distinctive edge." Godsmack singer and founder Sully Erna has also cited Staley as his primary influence. Godsmack was named after the Alice in Chains song "God Smack" from the album Dirt. Staind has covered Alice in Chains' song "Nutshell" live, which appears on the compilation The Singles: 1996-2006, and also wrote a song entitled "Layne", dedicated to Staley, on the album 14 Shades of Grey. Three Days Grace also performs a cover of "Rooster", which can be seen on the DVD Live at the Palace. Other bands that have been influenced by Alice in Chains include 10 Years, Avenged Sevenfold, Breaking Benjamin, Creed, Dallas Green, Days of the New, Hoobastank, Incubus, Korn, Manic Street Preachers, Mudvayne, Nickelback, A Pale Horse Named Death, Puddle of Mudd, Queens of the Stone Age, Rains, Seether, Smile Empty Soul, Stone Sour, Tantric, Taproot, and Theory of a Deadman. Metallica said they have always wanted to tour with the band, citing Alice in Chains as a major inspiration for their 2008 release, Death Magnetic.
Alice in Chains has also had a significant influence on modern heavy metal. Their songs were covered by various metal bands such as In Flames, Opeth, Dream Theater, Secrets of the Moon, Suicide Silence, 36 Crazyfists, Cane Hill, Ektomorf, Dritt Skitt, Grave and Thou, who described their 2018 EP Rhea Sylvia as "a melodic grunge, Alice in Chains homage." In 2009, Anders Fridén of Swedish melodic death metal band In Flames cited Layne Staley as an inspiration for his vocals on the band's later albums. In addition to fellow musicians, the band has also received praise from critics, with Steve Huey of AllMusic calling them "one of the best metal bands of the '90s" upon reviewing the 1999 compilation Nothing Safe.
In 2009, the Vitamin String Quartet released the album The String Quartet Tribute to Alice in Chains, featuring instrumental versions on viola, violin and cello of 12 of the band's biggest hits.
In August 2015, journalist David de Sola published the biography Alice in Chains: The Untold Story. An updated version covering the period from 2014 to 2017 was published in November 2018. Neither the band nor their management had any involvement with the book. Sources tied directly to the band were interviewed instead.
In June 2017, Metal Injection ranked Alice in Chains at number 1 on their list of "10 Heaviest Grunge Bands". Ozzy Osbourne ranked Facelift among his list of "10 Favorite Metal Albums".
The claymation dolls of the band members used in the music video for "I Stay Away" are on display at the Rock and Roll Hall of Fame museum in Cleveland, Ohio.
Band members
Current members
Jerry Cantrell – lead guitar, lead vocals (1987–2002, 2005–present), rhythm guitar (1987–2002, 2005–2006)
Sean Kinney – drums, backing vocals (1987–2002, 2005–present)
Mike Inez – bass, backing vocals (1993–2002, 2005–present)
William DuVall – lead vocals, rhythm guitar (2006–present)
Former members
Layne Staley – lead vocals (1987–2002), occasional rhythm guitar (1992–2002; died 2002)
Mike Starr – bass, backing vocals (1987–1993; died 2011)
Touring members
Maynard James Keenan – lead vocals (2005)
Timeline
Discography
Studio albums
Facelift (1990)
Dirt (1992)
Alice in Chains (1995)
Black Gives Way to Blue (2009)
The Devil Put Dinosaurs Here (2013)
Rainier Fog (2018)
Awards and nominations
References
External links
VH1 Classic: Alice In Chains
1987 establishments in Washington (state)
2002 disestablishments in Washington (state)
2005 establishments in Washington (state)
American alternative metal musical groups
Columbia Records artists
EMI Records artists
American grunge groups
Heavy metal musical groups from Washington (state)
Kerrang! Awards winners
Musical groups established in 1987
Musical groups disestablished in 2002
Musical groups reestablished in 2005
Musical groups from Seattle
Musical quartets
Virgin Records artists
Capitol Records artists | true | [
"Přírodní park Třebíčsko (before Oblast klidu Třebíčsko) is a natural park near Třebíč in the Czech Republic. There are many interesting plants. The park was founded in 1983.\n\nKobylinec and Ptáčovský kopeček\n\nKobylinec is a natural monument situated ca 0,5 km from the village of Trnava.\nThe area of this monument is 0,44 ha. Pulsatilla grandis can be found here and in the Ptáčovský kopeček park near Ptáčov near Třebíč. Both monuments are very popular for tourists.\n\nPonds\n\nIn the natural park there are some interesting ponds such as Velký Bor, Malý Bor, Buršík near Přeckov and a brook Březinka. Dams on the brook are examples of European beaver activity.\n\nSyenitové skály near Pocoucov\n\nSyenitové skály (rocks of syenit) near Pocoucov is one of famed locations. There are interesting granite boulders. The area of the reservation is 0,77 ha.\n\nExternal links\nParts of this article or all article was translated from Czech. The original article is :cs:Přírodní park Třebíčsko.\n\nReferences\n\nExternal links\nNature near the village Trnava which is there\n\nTřebíč\nParks in the Czech Republic\nTourist attractions in the Vysočina Region",
"Damn Interesting is an independent website founded by Alan Bellows in 2005. The website presents true stories from science, history, and psychology, primarily as long-form articles, often illustrated with original artwork. Works are written by various authors, and published at irregular intervals. The website openly rejects advertising, relying on reader and listener donations to cover operating costs.\n\nAs of October 2012, each article is also published as a podcast under the same name. In November 2019, a second podcast was launched under the title Damn Interesting Week, featuring unscripted commentary on an assortment of news articles featured on the website's \"Curated Links\" section that week. In mid-2020, a third podcast called Damn Interesting Curio Cabinet began highlighting the website's periodic short-form articles in the same radioplay format as the original podcast.\n\nIn July 2009, Damn Interesting published the print book Alien Hand Syndrome through Workman Publishing. It contains some favorites from the site and some exclusive content.\n\nAwards and recognition \nIn August 2007, PC Magazine named Damn Interesting one of the \"Top 100 Undiscovered Web Sites\".\nThe article \"The Zero-Armed Bandit\" by Alan Bellows won a 2015 Sidney Award from David Brooks in The New York Times.\nThe article \"Ghoulish Acts and Dastardly Deeds\" by Alan Bellows was cited as \"nonfiction journalism from 2017 that will stand the test of time\" by Conor Friedersdorf in The Atlantic.\nThe article \"Dupes and Duplicity\" by Jennifer Lee Noonan won a 2020 Sidney Award from David Brooks in the New York Times.\n\nAccusing The Dollop of plagiarism \n\nOn July 9, 2015, Bellows posted an open letter accusing The Dollop, a comedy podcast about history, of plagiarism due to their repeated use of verbatim text from Damn Interesting articles without permission or attribution. Dave Anthony, the writer of The Dollop, responded on reddit, admitting to using Damn Interesting content, but claiming that the use was protected by fair use, and that \"historical facts are not copyrightable.\" In an article about the controversy on Plagiarism Today, Jonathan Bailey concluded, \"Any way one looks at it, The Dollop failed its ethical obligations to all of the people, not just those writing for Damn Interesting, who put in the time, energy and expertise into writing the original content upon which their show is based.\"\n\nReferences\n\nExternal links \n Official website\n\n2005 podcast debuts"
]
|
[
"Alice in Chains",
"Jar of Flies (1993-1994)",
"What is the Jar of Flies?",
"Columbia Records released Alice in Chains' second acoustic-based EP, Jar of Flies, on January 25, 1994.",
"How did this EP do?",
"Written and recorded in one week, Jar of Flies debuted at number one on the Billboard 200, becoming the first EP--and first Alice in Chains release--to top the charts.",
"Are there any other interesting aspects about this article?",
"After the release of Jar of Flies, Staley entered rehab for heroin addiction."
]
| C_68e092ce2d2f47e9ba7736c8e2acfae9_0 | How did this affect the band? | 4 | How did Staley entering rehab affect the band? | Alice in Chains | Following Alice in Chains' extensive 1993 world tour, Staley said the band "just wanted to go into the studio for a few days with our acoustic guitars and see what happened". "We never really planned on the music we made at that time to be released. But the record label heard it and they really liked it. For us, it was just the experience of four guys getting together in the studio and making some music." Columbia Records released Alice in Chains' second acoustic-based EP, Jar of Flies, on January 25, 1994. Written and recorded in one week, Jar of Flies debuted at number one on the Billboard 200, becoming the first EP--and first Alice in Chains release--to top the charts. Paul Evans of Rolling Stone called the EP "darkly gorgeous", and Steve Huey said, "'Jar of Flies' is a low-key stunner, achingly gorgeous and harrowingly sorrowful all at once". Jar of Flies features Alice in Chains' first number-one single on the Mainstream Rock charts, "No Excuses". The second single, "I Stay Away", reached number ten on the Mainstream rock charts, while the final single "Don't Follow", reached number 25. Jar of Flies has been certified triple platinum by the RIAA, with over 2 million copies sold in the United States during its first year. After the release of Jar of Flies, Staley entered rehab for heroin addiction. The band was scheduled to tour during the summer of 1994 with Metallica, Suicidal Tendencies, Danzig, and Fight, as well as a slot during Woodstock '94, but while in rehearsal for the tour, Staley began using heroin again. Staley's condition prompted the other band members to cancel all scheduled dates one day before the start of the tour, putting the band on hiatus. Alice in Chains was replaced by Candlebox on the tour. Susan Silver's management office sent out a statement saying that the decision to withdraw from the Metallica tour and Woodstock was "due to health problems within the band." The band broke up for six months. Kinney told Rolling Stone in 1996, "Nobody was being honest with each other back then. If we had kept going, there was a good chance we would have self-destructed on the road, and we definitely didn't want that to happen in public." CANNOTANSWER | Staley began using heroin again. Staley's condition prompted the other band members to cancel all scheduled dates one day before the start of the tour, | Alice in Chains (often abbreviated as AIC) is an American rock band from Seattle, Washington, formed in 1987 by guitarist and vocalist Jerry Cantrell and drummer Sean Kinney, who later recruited bassist Mike Starr and lead vocalist Layne Staley. Starr was replaced by Mike Inez in 1993. William DuVall joined the band in 2006 as co-lead vocalist and rhythm guitarist, replacing Staley, who died in 2002. The band took its name from Staley's previous group, the glam metal band Alice N' Chains.
Often associated with grunge music, Alice in Chains' sound incorporates heavy metal elements. The band is known for its distinctive vocal style, which often included the harmonized vocals between Staley and Cantrell (and later Cantrell and DuVall). Cantrell started to sing lead vocals on the 1992 acoustic EP Sap, and his role continued to grow in the following albums, making Alice in Chains a two-vocal band.
Alice in Chains rose to international fame as part of the grunge movement of the early 1990s, along with other Seattle bands such as Nirvana, Pearl Jam, and Soundgarden. They achieved success during the era with the albums Facelift (1990), Dirt (1992), Alice in Chains (1995), as well as the EP Jar of Flies (1994). Although never officially disbanding, Alice in Chains was plagued by extended inactivity from 1996 onward, due to Staley's substance abuse, which resulted in his death in 2002. The band regrouped in 2006, with DuVall taking over as lead vocalist full-time, and they have since released three more albums: Black Gives Way to Blue (2009), The Devil Put Dinosaurs Here (2013), and Rainier Fog (2018).
Alice in Chains have sold over 30 million records worldwide, and over 14 million records in the US alone. The band has had 18 Top 10 songs on Billboard's Mainstream Rock Tracks chart, 5 No. 1 hits, and received 11 Grammy Award nominations. The band was ranked number 34 on VH1's 100 Greatest Artists of Hard Rock and was ranked as the 15th greatest live band by Hit Parader. Since its formation, Alice in Chains has released six studio albums, three EPs, three live albums, four compilations, two DVDs, 43 music videos, and 32 singles.
History
1984–1989: Formation and early years
Before the formation of Alice in Chains, then-drummer Layne Staley landed his first gig as a vocalist when he auditioned to sing for a local glam metal band known as Sleze after receiving some encouragement from his stepbrother Ken Elmer. Other members of this group at that time were guitarists Johnny Bacolas and Zoli Semanate, drummer James Bergstrom, and bassist Byron Hansen. This band went through several lineup changes culminating with Nick Pollock as their sole guitarist and Bacolas switching to bass before discussions arose about changing their name to Alice in Chains. This was prompted by a conversation that Bacolas had with Russ Klatt, the lead singer of Slaughter Haus 5, about backstage passes. One of the passes said "Welcome to Wonderland", and they started talking about that being a reference to Alice in Wonderland, until Klatt said, "What about Alice in Chains? Put her in bondage and stuff like that." Bacolas thought the name "Alice in Chains" was cool and brought it up to his Sleze bandmates and everyone liked it, so they decided to change the name of the band. Due to concerns over the reference to female bondage, the group ultimately chose to spell it differently as Alice N' Chains to allay any parental concerns, though Staley's mother Nancy McCallum has said she was still not happy with this name at first. According to Bacolas, the decision to use the apostrophe-N combination in their name had nothing to do with the Los Angeles band Guns N' Roses. The name change happened in 1986, a year before Guns N' Roses became a household name with their first album Appetite for Destruction, released in July 1987.
Staley met guitarist Jerry Cantrell at a party in Seattle around August 1987. A few months prior, Cantrell had watched a concert of Alice N' Chains in his hometown at the Tacoma Little Theatre, and was impressed by Staley's voice. Cantrell was homeless after being kicked out of his family's house, so Staley invited Cantrell to live with him at the rehearsal studio Music Bank, and the two struggling musicians became roommates.
Alice N' Chains soon disbanded, and Staley joined a funk band. Cantrell's band, Diamond Lie, broke up and he wanted to form a new band, so Staley gave him the phone number of Melinda Starr, the girlfriend of drummer Sean Kinney, so that Cantrell could talk to him. Cantrell called the number and set up a meeting with Kinney. Kinney and his girlfriend went to the Music Bank and listened to Cantrell's demos, who mentioned that they needed a bass player to jam with them, and he had someone in mind: Mike Starr, with whom Cantrell had played in a band in Burien called Gypsy Rose. Kinney then mentioned that his girlfriend was actually Mike Starr's sister, and that he had been playing in bands together with Starr since they were kids. Kinney called Starr and a few days later he started jamming with him and Cantrell at the Music Bank, but they didn't have a singer.
Staley's funk band also required a guitarist at the time, and Staley asked Cantrell to join as a sideman. Cantrell agreed on condition that Staley join his band. Because Cantrell, Starr and Kinney wanted Staley to be their lead singer, they started auditioning terrible lead singers in front of Staley to send a hint. The last straw for Staley was when they auditioned a male stripper – he decided to join the band after that. Eventually the funk project broke up, and in 1987 Staley joined Cantrell's band on a full-time basis. Two weeks after the band's formation, they were playing a gig at Washington State University, trying to fill out a 40-minute set with a couple of original songs along with Hanoi Rocks and David Bowie covers.
The band played a couple of gigs in clubs around the Pacific Northwest, calling themselves different monikers, including Diamond Lie, the name of Cantrell's previous band, and "Fuck", before eventually adopting the name that Staley's previous band had initially flirted with, Alice in Chains. Staley contacted his former bandmates and asked for permission to use the name. Nick Pollock wasn't particularly thrilled about it at the time and thought he should come up with a different name, but ultimately both he and James Bergstrom gave Staley their blessing to use the name.
Local promoter Randy Hauser became aware of the band at a concert and offered to pay for demo recordings. However, one day before the band was due to record at the Music Bank studio in Washington, police shut down the studio during the biggest cannabis raid in the history of the state. The final demo, completed in 1988, was named The Treehouse Tapes and found its way to music managers Kelly Curtis and Susan Silver, who also managed the Seattle-based band Soundgarden. Curtis and Silver passed the demo on to Columbia Records' A&R representative Nick Terzo, who set up an appointment with label president Don Ienner. Based on The Treehouse Tapes, Terzo signed Alice in Chains to Columbia in 1989. The band also recorded another untitled demo over a three-month period in 1989. This recording can be found on the bootleg release Sweet Alice.
1990–1992: Facelift and Sap
Alice in Chains soon became a top priority of the label, which released the band's first official recording in July 1990, a promotional EP called We Die Young. The EP's lead single, "We Die Young", became a hit on metal radio. After its success, the label rushed Alice in Chains' debut album into production with producer Dave Jerden. Cantrell stated the album was intended to have a "moody aura" that was a "direct result of the brooding atmosphere and feel of Seattle."
The resulting album, Facelift, was released on August 21, 1990, peaking at number 42 in the summer of 1991 on the Billboard 200 chart. Facelift was not an instant success, selling under 40,000 copies in the first six months of release, until MTV added "Man in the Box" to regular daytime rotation. The single hit number 18 on the Mainstream rock charts, with the album's follow up single, "Sea of Sorrow", reaching number 27, and in six weeks Facelift sold 400,000 copies in the US. The album was a critical success, with Steve Huey of AllMusic citing Facelift as "one of the most important records in establishing an audience for grunge and alternative rock among hard rock and heavy metal listeners." Sammy Hagar claimed he invited the band to tour with Van Halen after he saw the music video for "Man In The Box" on MTV.
Facelift was certified gold by the Recording Industry Association of America (RIAA) for selling a half-million copies on September 11, 1991, becoming the first album from Seattle's Grunge movement to be certified gold. The band continued to hone its audience, opening for such artists as Iggy Pop, Van Halen, Poison, and Extreme. Facelift has since been certified triple-platinum by the RIAA, for shipments of three million copies in the United States.
The concert at the Moore Theatre in Seattle on December 22, 1990, was recorded and released on VHS on July 30, 1991, as Live Facelift. It features five live songs and three music videos. The home video has been certified gold by the RIAA for sales exceeding 50,000 copies.
In early 1991, Alice in Chains landed the opening slot for the Clash of the Titans tour with Anthrax, Megadeth, and Slayer, exposing the band to a wide metal audience but receiving mainly poor reception. Alice in Chains was nominated for a Best Hard Rock Performance Grammy Award in 1992 for "Man in the Box" but lost to Van Halen for their 1991 album For Unlawful Carnal Knowledge.
Following the tour, Alice in Chains entered the studio to record demos for its next album, but ended up recording five acoustic songs instead. While in the studio, drummer Sean Kinney had a dream about "making an EP called Sap". The band decided "not to mess with fate", and on February 4, 1992, Alice in Chains released their second EP, Sap. The EP was released while Nirvana's Nevermind was at the top of the Billboard 200 charts, resulting in a rising popularity of Seattle-based bands, and of the term "grunge music". Sap was certified gold within two weeks. The EP features Cantrell on lead vocals on the opening track, "Brother", and guest vocals by Ann Wilson from the band Heart, who joined Staley and Cantrell for the choruses of "Brother" and "Am I Inside". The EP also features Mark Arm of Mudhoney and Chris Cornell of Soundgarden, who shared vocals with Staley and Cantrell on the song "Right Turn", credited to "Alice Mudgarden" in the liner notes.
In 1992, Alice in Chains appeared in the Cameron Crowe film Singles, performing as a "bar band". The band also contributed the song "Would?" to the film's soundtrack, whose video received an award for Best Video from a Film at the 1993 MTV Video Music Awards.
1992–1993: Dirt
In March 1992, the band returned to the studio. With new songs written primarily on the road, the material has an overall darker feel than Facelift, with six of the album's thirteen songs dealing with the subject of addiction. "We did a lot of soul searching on this album. There's a lot of intense feelings." Cantrell said, "We deal with our daily demons through music. All of the poison that builds up during the day we cleanse when we play."
On September 29, 1992, Alice in Chains released its second album, Dirt. The album peaked at number six on the Billboard 200 and since its release has been certified quadruple platinum by the RIAA, making Dirt the band's highest selling album to date. The album was a critical success, with Steve Huey of Allmusic praising the album as a "major artistic statement, and the closest they ever came to recording a flat-out masterpiece." Chris Gill of Guitar World called Dirt "huge and foreboding, yet eerie and intimate", and "sublimely dark and brutally honest."
Dirt spawned five singles that reached the top 30 on the Billboard Mainstream Rock chart: "Would?", "Rooster", "Them Bones", "Angry Chair", and "Down in a Hole", and remained on the charts for nearly two years. Alice in Chains was added as openers to Ozzy Osbourne's No More Tours tour. Days before the tour began, Layne Staley broke his foot in an ATV accident, forcing him to use crutches on stage.
Starr left the band shortly after the Hollywood Rock concert in Rio de Janeiro on January 22, 1993, stating that he wanted to spend more time with his family. Staley told Rolling Stone in 1994 about Starr leaving the band, "It was just a difference in priorities. We wanted to continue intense touring and press. Mike was ready to go home." Years later, Starr claimed that he was fired due to his drug addiction.
Starr was replaced by former Ozzy Osbourne bassist Mike Inez. Inez had met Alice in Chains during Ozzy Osbourne's No More Tours tour and became friends with them. When the band was in Brazil, they called Inez to join them and he accepted. Inez wanted to do the shows in Brazil and even got his immunization shots, but the band called him back telling that Starr wanted to do the last two shows in Brazil, so they would meet Inez in London instead. Inez ended up getting sick with his vaccination shots for a couple of days. Inez played his first concert with Alice in Chains on January 27, 1993, at the Camden Underworld in London.
In April 1993, the band recorded two songs with Inez, "What the Hell Have I" and "A Little Bitter", for the Last Action Hero soundtrack. During the summer of 1993, Alice in Chains toured with the alternative music festival Lollapalooza, their last major tour with Staley.
1993–1994: Jar of Flies
Following Alice in Chains' extensive 1993 world tour, Staley said the band "just wanted to go into the studio for a few days with our acoustic guitars and see what happened." "We never really planned on the music we made at that time to be released. But the record label heard it and they really liked it. For us, it was just the experience of four guys getting together in the studio and making some music."
Columbia Records released Alice in Chains' second acoustic-based EP, Jar of Flies, on January 25, 1994. Written and recorded in one week, Jar of Flies debuted at number one on the Billboard 200, becoming the first EP—and first Alice in Chains release—to top the charts.
Paul Evans of Rolling Stone called the EP "darkly gorgeous", and Steve Huey said, "'Jar of Flies' is a low-key stunner, achingly gorgeous and harrowingly sorrowful all at once." Jar of Flies features Alice in Chains' first number-one single on the Mainstream Rock charts, "No Excuses". The second single, "I Stay Away", reached number ten on the Mainstream rock charts, while the final single "Don't Follow", reached number 25. Jar of Flies has been certified triple platinum by the RIAA, with over 2 million copies sold in the United States during its first year. Jar of Flies received two Grammy nominations, Best Hard Rock Performance for "I Stay Away", and Best Recording Package.
After the release of Jar of Flies, Staley entered rehab for heroin addiction. The band was scheduled to tour during the summer of 1994 with Metallica, Suicidal Tendencies, Danzig, and Fight, as well as a slot during Woodstock '94, but while in rehearsal for the tour, Staley began using heroin again. Staley's condition prompted the other band members to cancel all scheduled dates one day before the start of the tour, putting the band on hiatus. Alice in Chains was replaced by Candlebox on the tour. Susan Silver's management office sent out a statement saying that the decision to withdraw from the Metallica tour and Woodstock was "due to health problems within the band."
The band broke up for six months. Kinney told Rolling Stone in 1996, "Nobody was being honest with each other back then. If we had kept going, there was a good chance we would have self-destructed on the road, and we definitely didn't want that to happen in public."
1995–1996: Alice in Chains
While Alice in Chains was inactive during 1995, Staley joined the "grunge supergroup" Mad Season, which also featured Pearl Jam guitarist Mike McCready, bassist John Baker Saunders from The Walkabouts, and Screaming Trees drummer Barrett Martin. Mad Season released one album, Above, for which Staley provided lead vocals and the album artwork. The album spawned a number-two Mainstream Rock chart single, "River of Deceit", as well as a home video release of Live at the Moore.
In April 1995, Alice in Chains entered Bad Animals Studio in Seattle with producer Toby Wright, who had previously worked with Corrosion of Conformity and Slayer. While in the studio, an inferior version of the song "Grind" was leaked to radio, and received major airplay. On October 6, 1995, the band released the studio version of the song to radio via satellite uplink to stem excessive spread of taped copies of the song.
On November 7, 1995, Columbia Records released the eponymous album, Alice in Chains, which debuted at number one on the Billboard 200 and has since been certified triple platinum. Of the album's four singles, "Grind", "Again", "Over Now", and "Heaven Beside You", three feature Cantrell on lead vocals. Jon Wiederhorn of Rolling Stone called the album "liberating and enlightening, the songs achieve a startling, staggering and palpable impact."
On December 12, 1995, the band released the home video The Nona Tapes, a mockumentary featuring interviews with the band members conducted by journalist Nona Weisbaum (played by Jerry Cantrell), and the music video for "Grind".
The song "Got Me Wrong" unexpectedly charted three years after its release on the Sap EP. The song was re-released as a single on the soundtrack for the independent film Clerks in 1994, reaching number seven on the Mainstream Rock Tracks chart. The band opted not to tour in support of Alice in Chains, adding to the rumors of drug abuse.
Alice in Chains resurfaced on April 10, 1996, to perform their first concert in two and a half years for MTV Unplugged, a program featuring all-acoustic set lists. The performance featured some of the band's highest-charting singles, including "Rooster", "Down in a Hole", "Heaven Beside You", "No Excuses" and "Would?", and introduced a new song, "Killer Is Me", with Cantrell on lead vocals. The show marked Alice in Chains' only appearance as a five-piece band, adding second guitarist Scott Olson. A live album of the performance was released in July 1996, debuting at number three on the Billboard 200, and was accompanied by a home video release, both of which received platinum certification by the RIAA. The band also made an appearance on The Late Show with David Letterman on May 10, 1996, performing the songs "Again" and "We Die Young".
Alice in Chains performed four shows supporting the reunited original Kiss lineup on their 1996–97 Alive/Worldwide Tour, including the final live appearance of Layne Staley on July 3, 1996, in Kansas City, Missouri. Shortly after the show, Staley was found unresponsive after he overdosed on heroin and was taken to the hospital. Although he recovered, the band was forced to go on hiatus.
1996–2004: Hiatus, side projects and death of Layne Staley
Although Alice in Chains never officially disbanded, Staley became a recluse, rarely leaving his Seattle condominium following the death of his ex-fiancée Demri Parrott due to a drug overdose on October 29, 1996. "Drugs worked for me for years," Staley told Rolling Stone in February 1996, "and now they're turning against me ... now I'm walking through hell and this sucks. I didn't want my fans to think that heroin was cool. But then I've had fans come up to me and give me the thumbs up, telling me they're high. That's exactly what I didn't want to happen.."
Unable to continue with new Alice in Chains material, Cantrell released his first solo album, Boggy Depot, in 1998, also featuring Sean Kinney and Mike Inez. Cantrell and Kinney were also featured on Metallica's 1998 album Garage Inc., both were guest musicians in the track "Tuesday's Gone", a cover of Lynyrd Skynyrd.
In October 1998, Staley reunited with Alice in Chains to record two new songs, "Get Born Again" and "Died". Originally intended for Cantrell's second solo album, the songs were reworked by Alice in Chains and were released in the fall of 1999 on the box set, Music Bank. The set contains 48 songs, including rarities, demos, and previously released album tracks and singles. The band also released a 15-track compilation titled Nothing Safe: Best of the Box, serving as a sampler for Music Bank, as well as the band's first compilation album; a live album, simply titled Live, released on December 5, 2000; and a second compilation, titled Greatest Hits in 2001.
In November 1998, Layne Staley recorded a cover of Pink Floyd's "Another Brick in the Wall" with the supergroup Class of '99, formed by guitarist Tom Morello of Rage Against the Machine, bassist Martyn LeNoble, drummer Stephen Perkins, both from Jane's Addiction and Porno for Pyros, and keyboardist Matt Serletic. The song was featured on the soundtrack to the 1998 horror/sci-fi film, The Faculty.
After they toured as part of Cantrell's solo band in 1998, Sean Kinney and Queensrÿche guitarist Chris DeGarmo formed a new band called Spys4Darwin. Mike Inez and Sponge lead vocalist Vin Dombroski joined the supergroup soon after. The band released their first and only album in 2001, a 6-track EP entitled Microfish. In June 2001, Mike Inez joined Zakk Wylde's Black Label Society for the remaining dates of Ozzfest, following the departure of bassist Steve Gibb due to medical reasons. Inez joined the band again for their West Coast and Japanese tour in 2003.
By 2002, Cantrell had finished work on his second solo album, Degradation Trip. Written in 1998, the album's lyrical content focused heavily on what Cantrell regarded as the demise of Alice in Chains, which still remained evident as the album approached its June 2002 release. However, in March that year, Cantrell commented, "We're all still around, so it's possible [Alice in Chains] could all do something someday, and I fully hope someday we will."
Reflecting on the band's hiatus in a 2011 interview, Kinney said that Staley wasn't the only one battling addiction. "He was the focal point, like singers are. So they'd single him out. But the truth was, it was pretty much everybody. I definitely had my hand firmly on the wheel going off the cliff. And the reason we pulled back – you know when you stop when you have two #1 records, it's not really the greatest career move – but we did that because we love each other and we didn't want to die in public. And I know for a fact in my heart that if we were to continue that I wouldn't be on the phone right now talking to you. I wouldn't have made it. I just wouldn't have."
After a decade of battling drug addiction, Layne Staley was found dead in his condominium in Seattle on April 19, 2002. The autopsy and toxicology report on Staley's body revealed that he died from a mixture of heroin and cocaine, known as "speedball". The autopsy concluded that Staley died on April 5, two weeks before his body was found. Cantrell dedicated his 2002 solo album, Degradation Trip, released two months after Staley's death, to his memory. Mike Starr later claimed on Celebrity Rehab that he was the last person to see Staley alive, and admitted to feeling guilty about not calling 911 after Staley had warned him against it. "I wish I hadn't been high on benzodiazepine [that night], I wouldn't have just walked out the door," Starr said.
Following Staley's death, Mike Inez joined Heart and toured and recorded with the band from 2002 through 2006. Jerry Cantrell collaborated with several artists such as Heart, Ozzy Osbourne, and Damageplan. In 2004, Cantrell formed the band Cardboard Vampyres along with The Cult guitarist Billy Duffy, Mötley Crüe and Ratt vocalist John Corabi, The Cult bassist Chris Wyse and drummer Josh Howser.
On October 22, 2004, Sony BMG terminated their contract with Alice in Chains, 15 years after the band signed with the label, in 1989.
2005–2008: Reunion shows and reformation
In 2005, Sean Kinney came up with the idea of doing a benefit concert for the victims of the tsunami disaster that struck South Asia in 2004. Kinney made calls to his former bandmates, as well as friends in the music community, such as former Alice in Chains manager Susan Silver. Kinney was surprised by the enthusiastic response to his idea. On February 18, 2005, Jerry Cantrell, Mike Inez, and Sean Kinney reunited to perform for the first time in nine years at K-Rock Tsunami Continued Care Relief Concert in Seattle. The band featured Damageplan vocalist Pat Lachman, as well as other special guests including Maynard James Keenan of Tool and Ann Wilson of Heart. A few months after that experience, the band called Susan Silver and Cantrell's manager Bill Siddons and said they wanted to tour as Alice in Chains again.
Alice in Chains was approached by the producers of the CBS reality show Rock Star about being featured on its second season, but the band turned the offer down. In the show, aspiring singers competed to become the lead vocalist of a featured group.
On March 10, 2006, the surviving members performed at VH1's Decades Rock Live concert, honoring fellow Seattle musicians Ann and Nancy Wilson of Heart. They played "Would?" with vocalist Phil Anselmo of Pantera and Down and bass player Duff McKagan of Guns N' Roses and Velvet Revolver, and at the end of the performance Cantrell dedicated the show to Layne Staley and the late Pantera and Damageplan guitarist Dimebag Darrell. They also played "Rooster" with Comes with the Fall vocalist William DuVall and Ann Wilson. The band followed the concert with a short United States club tour named "Finish What We Started", several festival dates in Europe, and a brief tour in Japan. Duff McKagan again joined the band for the reunion tour, playing rhythm guitar on selected songs. During the tour, the band played a 5-minute video tribute to Staley during the changeover from the electric to acoustic set.
To coincide with the band's reunion, Sony Music released the long-delayed third Alice in Chains compilation, The Essential Alice in Chains, a double album that includes 28 songs.
Jerry Cantrell met William DuVall in Los Angeles in 2000 through a mutual acquaintance who introduced Cantrell to Comes with the Fall's first album. Cantrell started hanging out with the band and occasionally joined them onstage. Between 2001 and 2002, Comes with the Fall was both the opening act on Cantrell's tour for his second solo album, Degradation Trip, and also his backing band, with DuVall singing Staley's parts at the concerts. DuVall joined Alice in Chains as lead singer during the band's reunion concerts in 2006, and made his first public performance with the band at VH1's Decades Rock Live concert. According to Cantrell, it only took one audition for DuVall to get the gig. For his first rehearsal with the band, DuVall sang "Love, Hate, Love". After they finished, Sean Kinney looked at his bandmates and said, "I think the search is pretty much over." According to Mike Inez, DuVall didn't try to emulate Staley, and that's what drew them to him.
Cantrell revealed that before he suggested DuVall for the band, Sean Kinney and Mike Inez invited Sponge and Spys4Darwin lead vocalist Vin Dombroski to jam with the band in their rehearsal space. Dombroski jammed with them to a couple of songs but they did not feel he was right for the band. According to Cantrell, Stone Temple Pilots and Velvet Revolver lead singer Scott Weiland was also interested in joining the band.
Cantrell explained the reunion saying, "We want to celebrate what we did and the memory of our friend. We have played with some [singers] who can actually bring it and add their own thing to it without being a Layne clone. We're not interested in stepping on [Staley's] rich legacy. It's a tough thing to go through. Do you take the Led Zeppelin approach and never play again, because the guy was that important? That's the approach we've taken for a lot of years. Or, do you give it a shot, try something? We're willing to take a chance on it. It's completely a reunion because the three of us who're left are back together. But it's not about separating and forgetting — it's about remembering and moving on." Before the tour, Kinney mentioned in an interview that he would be interested in writing new material, but not as Alice in Chains.
During the VH1 Rock Honors concert honoring Heart on May 12, 2007, Alice in Chains performed Heart's "Barracuda" fronted by country singer Gretchen Wilson. Heart's guitarist Nancy Wilson also joined them onstage.
Alice in Chains joined Velvet Revolver for a run of U.S. and Canadian gigs from August through October 2007. During that tour, the band also performed four special acoustic-only shows, named as "The Acoustic Hour". The acoustic performance at The Rave/Eagles Club in Milwaukee, Wisconsin on August 31, 2007, was recorded for an upcoming live album.
On November 2, 2007, Alice in Chains performed a four-song set at Benaroya Hall in Seattle for Matt Messina and the Symphony Guild's 10th anniversary benefit concert for the Seattle Children's Hospital & Regional Medical Center. In addition to the band's original material, they also played a cover of Led Zeppelin's "Kashmir" while backed by over 200 musicians, including the Northwest Symphony Orchestra and the Northwest Girlchoir.
Sean Kinney said about the band's reunion: "I never called Jerry; he never called me, and said, 'Hey, let's get the band back together,' you know? We had been taking every step extremely cautious and slow, and just doing whatever feels right: If it's genuine and we're doing it for genuine reasons and we're all okay with it then we take a little step. None of us is broke. Nobody needs to be a rock dork, and you know, stroke their ego. I mean, we don't really operate like that. So as long as it felt good and from the right place and it's about making music and carrying on…."
About the pressure being put on DuVall for replacing Staley as lead vocalist, Cantrell said, "To put all that weight on Will's shoulders is unfair. We're just figuring out how we work as a team. Although the band has changed, we've lost Layne, we've added Will, and there was no master plan. Playing again in 2005 felt right, so we did the next thing and toured. We did it step by step. It's more than just making music, and it always has been. We've been friends a long time. We've been more of a family than most, and it had to be okay from here," Cantrell said pointing to his heart.
Former The Doors manager Bill Siddons and his management company, Core Entertainment, co-managed Alice in Chains with original manager Susan Silver from 2005 to 2007.
The band started writing and demoing songs for a new album with DuVall in April 2007. But the band did not show further signs of progress until October 2008, when they announced that they had begun recording with producer Nick Raskulinecz in the studio.
2008–2011: Black Gives Way to Blue and death of Mike Starr
Blabbermouth.net reported on September 5, 2008, that Alice in Chains would enter the studio that October to begin recording a new album for a summer 2009 release. On September 14, 2008, Alice in Chains performed at halftime during the Seattle Seahawks vs San Francisco 49ers game at the CenturyLink Field (then-named Qwest Field) in Seattle. The 12-minute performance for a crowd of 67,000 people featured a cover of Led Zeppelin's "Kashmir" accompanied by the Northwest Symphony Orchestra.
In October 2008, Alice in Chains began recording its fourth studio album at the Foo Fighters' Studio 606 in Los Angeles with producer Nick Raskulinecz. The band did not have a record label at the time and the album was funded by Jerry Cantrell and Sean Kinney. At the Revolver Golden God Awards, Cantrell said that the group had finished recording on March 18, 2009, and were mixing the album for a September release. The recording process was completed on Cantrell's 43rd birthday and also the same day that William DuVall's son was born. In April 2009, it was reported that the new Alice in Chains album would be released by Virgin/EMI, making it the band's first label change in its 20-plus year career. Susan Silver, who started managing Alice in Chains in 1988, now co-manages the band with David Benveniste and his Velvet Hammer firm.
On June 11, 2009, Blabbermouth.net reported that the new album would be titled Black Gives Way to Blue and was officially set to be released on September 29, 2009. The title first appeared on Amazon.com without any prior announcement from the band. In addition, it was announced that Elton John plays piano on the title track, a tribute to Layne Staley written and sung by Cantrell. The album features new vocalist and rhythm guitarist William DuVall sharing vocal duties with lead guitarist/vocalist Jerry Cantrell, who sings lead vocals on most of the songs. DuVall sings lead vocals on the song "Last of My Kind".
On June 30, 2009, the song "A Looking in View" was made available for purchase via iTunes and Amazon, and for a limited time it was available as a free download through the official Alice in Chains website in early July. Although it was not the album's first radio single, Rock stations across the U.S. started playing the song. The music video for "A Looking in View" debuted via the band's official website on July 7, 2009. The song was nominated for a Grammy Award for Best Hard Rock Performance.
"Check My Brain" was released to radio stations as the first official single from the album on August 14, 2009, and was made available for purchase on August 17, 2009. The music video for "Check My Brain" premiered on September 14, 2009. The song was also nominated for a Grammy Award for Best Hard Rock Performance.
To promote the album, the band released an EPK featuring all four of the members being interviewed while the Kiss makeup is being applied on them. An app for iPhone was released on October 27, 2009, featuring songs, music videos, news, photos and networking.
Sean Kinney said about the new album and the fans' mixed reactions about the band moving on after Staley's death: "Look, it's a big move to fucking stand up and move on. Some people, the music connected with them so strongly, their opinions, how they feel about it ... It's amazing that they have such a connection but they seem to act like it happened to them. This happened to us and Layne's family, not them. This is actually our lives. If we're okay with it, why can't you be? This happened to us, this didn't happen to you. But this album isn't about that, it's a bigger universal point. We're all going to fucking die, we're all going to lose somebody, and it fucking hurts. How do you move on? This record is us moving on, and hurting. That, to me, is a victory. I already feel like I've won." "Sometimes people ask us, 'Wouldn't Layne have been pissed off that we did this?' And I tell them it would have been the opposite: he would have been pissed off that it took us so long to do this. We're not doing this for money; there is no money in the music business anymore. Jerry and I funded the whole album, and we spent lots of our own money, because we believe in this. And one of the reasons I'm doing this is so more light is turned on to something where the light was turned off." And Cantrell added: "We've toured around the world, we've lost some friends, we buried a dear friend, and somebody that you just can't fucking replace, and then we've chosen by circumstance to get together again. That turned into 'maybe we can fucking do this.' And that turned into this."
In September 2008, it was announced that Alice in Chains would headline Australia's Soundwave Festival in 2009, alongside Nine Inch Nails and Lamb of God. In February 2009, it was also announced that Alice in Chains would play at the third annual Rock on the Range festival. On August 1, 2009, Alice in Chains performed, along with Mastodon, Avenged Sevenfold, and Glyder, at Marlay Park, Dublin as direct support to Metallica. The band made an appearance on Later... with Jools Holland on November 10, 2009, performing "Lesson Learned", "Black Gives Way to Blue", and "Check My Brain" as the final performance of the episode.
To coincide with the band's European tour, Alice in Chains released its next single, "Your Decision", on November 16, 2009, in the UK and on December 1 in the US. The last single from the album was "Lesson Learned", and it was released to rock radio on June 22, 2010.
Black Gives Way to Blue debuted at No. 5 on the Billboard 200. On May 18, 2010, the album was certified gold by the RIAA for selling over 500,000 copies in the U.S. The singles "Check My Brain" and "Your Decision" reached No. 1 on Billboard's Mainstream Rock Tracks, while "Lesson Learned" reached No. 4. "Check My Brain" was also the band's first #1 song on the Alternative Songs chart, and on the Hot Rock Songs chart, it also reached No. 92 on Billboard's Hot 100, becoming the band's first single to appear on the chart.
Along with Mastodon and Deftones, Alice in Chains toured the United States and Canada in late 2010 on the Blackdiamondskye tour, an amalgam of the three bands' latest album titles (Black Gives Way to Blue, Diamond Eyes, and Crack the Skye).
On March 8, 2011, former Alice in Chains bassist Mike Starr was found dead at his home in Salt Lake City. Police told Reuters they were called to Starr's home at 1:42 pm and found his body; Starr was 44. Reports later surfaced that Starr's roommate had seen him mixing methadone and anxiety medication hours before he was found dead. Later reports indicated Starr's death may have been linked to two different types of antidepressants prescribed to him by his doctor. A public memorial was held for Starr at the Seattle Center's International Fountain on March 20, 2011. A private memorial was also held, which Jerry Cantrell and Sean Kinney attended according to Mike Inez.
2011–2016: The Devil Put Dinosaurs Here
On March 21, 2011, Alice in Chains announced that they were working on a fifth studio album, and both Cantrell and Inez later made statements that they had begun the recording process. The album was expected to be finished by summer of 2012 and released by the end of 2012 or beginning of 2013. While Alice in Chains were writing for the album in 2011, Cantrell underwent surgery on his right shoulder, which delayed recording the new material. In an interview published in May 2012, Cantrell explained, "The thing that set me back is I had some bone spurs [and] cartilage issues in my shoulders. I had the same issue in the other shoulder about six years ago so I've had them both done now. It's a repetitive motion injury from playing." Cantrell could not play guitar for eight months while he was recovering from surgery. While recuperating at home in a sling, Cantrell heard a riff in his head and sang it into his phone. The riff later became the song "Stone".
Alice in Chains played their first concert in nearly 10 months and their first concert after Cantrell's shoulder surgery at the Winstar Casino in Thackerville, Oklahoma on August 13, 2011. The band's only concert in 2012 was a five-song acoustic set on May 31 at the eighth annual MusiCares MAP Fund Benefit Concert honoring Jerry Cantrell.
On December 4, 2012, Cantrell confirmed that the new album had been completed. The first single, "Hollow", debuted online on December 18, available for digital download in January 2013, along with an official music video. On February 13, 2013, Alice in Chains posted on Facebook that their new album title would be an anagram of the letters H V L E N T P S U S D A H I E E O E D T I U R R. The next day they announced that the album would be called The Devil Put Dinosaurs Here, which was released on May 28, 2013, and debuted at No. 2 on the Billboard 200.
To promote the album, Alice in Chains teamed up with Funny or Die for an 11-minute mockumentary titled AIC 23, in which Film Studies professor Alan Poole McLard (played by W. Earl Brown) attempts to make a documentary on Alice in Chains without any help from the actual band, interviewing other musicians instead. Among them are country singer Donnie 'Skeeter' Dollarhide Jr. (played by Jerry Cantrell), Reggae singer Nesta Cleveland (played by William DuVall), Black Metal musician Unta Gleeben Glabben Globben Globin (played by Mike Inez) and the hipster Stanley Eisen (played by Sean Kinney). The video was released on April 3, 2013, and also features cameos by Ann and Nancy Wilson from Heart, Mike McCready from Pearl Jam, Kim Thayil from Soundgarden, Duff McKagan from Guns N' Roses, Brent Hinds and Bill Kelliher from Mastodon, and Lars Ulrich and Robert Trujillo from Metallica.
In June 2013, the band released a pinball game app for iOS as part of Pinball Rocks HD compilation, featuring the single "Hollow", the band's logo and the album artwork, as well as references to the band's previous albums such as Jar of Flies and the self-titled record.
The band released videos for the songs "Hollow", "Stone", "Voices", the title track and "Phantom Limb". "Hollow" and "Stone" reached No. 1 on Billboard's Mainstream Rock Tracks, while "Voices" reached No. 3, and each one of the three songs stayed on the chart for 20 weeks. The Devil Put Dinosaurs Here was nominated for a Grammy Award for Best Engineered Album, Non-Classical in 2014.
Alice in Chains toured extensively in the U.S., Canada, and Europe in 2013 and 2014. In May 2013, the band co-headlined the annual MMRBQ festival with Soundgarden in Camden, New Jersey. Asked in September 2013 if Alice in Chains would make another album, Cantrell replied, "It'll be a while. It's [been] four years since we put the last one out, but at least it's not the gap that was between the last one, so that's about right - about three to four years."
On January 18, 2015, Alice in Chains performed in the halftime show of the NFC Championship Game between the Seattle Seahawks and the Green Bay Packers at CenturyLink Field in Seattle. Cantrell is a lifelong Seahawks fan and often attends their games. In August 2015, Bassist Mike Inez said that the band had been "throwing around riffs for a new record" and "taking it nice and slow". The band toured in the summer of 2015 and the summer of 2016, including select shows opening for Guns N' Roses as part of the Not in This Lifetime... Tour. The band finished their 2016 tour with a concert at the Grand Sierra Resort and Casino in Reno, Nevada on October 8, 2016.
In November 2016, Alice in Chains released a cover of the Rush song "Tears", which was included in the 40th anniversary release of the album 2112. The home video Live Facelift was released on vinyl for the first time on November 25, 2016, as part of Record Store Day's Black Friday event. The album features six songs and only 5000 copies were issued.
To celebrate the tenth anniversary of Record Store Day, on April 22, 2017, Legacy Recordings released "Get Born Again"/"What the Hell Have I", a special 45 RPM double 7" single featuring four tracks remastered and available on vinyl for the first time, "What the Hell Have I", "A Little Bitter", "Get Born Again" and "Died".
2017–present: Rainier Fog
In January 2017, Mike Inez stated in an interview that the band had begun work on a new album. In June 2017, it was reported that the band would return to Studio X (formerly Bad Animals Studios) in Seattle to record a new album later that month, for a tentative early 2018 release. The sessions were helmed by Nick Raskulinecz, who produced the band's last two albums. Studio X was the studio where Alice in Chains recorded its 1995 self-titled album. According to Inez, the band was not signed to a label, having completed its previous two-record contract with the Universal Music Group. "This [upcoming album], we're not sure where it's gonna land ... I mean, we financed ['Black Gives Way To Blue'] on our own too, so we're not too worried about that stuff. We've just gotta get it out to ... a significant label [with worldwide distribution]."
The band started recording their sixth studio album on June 12, 2017. On January 11, 2018, producer Nick Raskulinecz announced via Instagram that the album was nearly finished and that there was only one more day left of recording. During an interview with Guitar World published on April 11, 2018, Jerry Cantrell said that the album was recorded at four studios. After recording at Studio X in Seattle, the band went to Nashville to record vocals and lead guitars at Nick Raskulinecz's home studio. But Cantrell had to take an unexpected break from work for a couple of weeks after getting sick on a trip to Cabo for Sammy Hagar's birthday. Cantrell had the band's engineer, Paul Figueroa, come in to his house and record a lot of his vocals and solos there. The band finished recording the album at the Henson Recording Studios in Los Angeles. Cantrell also said he expects the album to be released "probably sometime this summer."
At the press room of the Rock and Roll Hall of Fame Induction Ceremony on April 14, 2018, Cantrell revealed that Alice in Chains had just signed with BMG, and that they had finished mixing their new album.
Alice in Chains did not perform live in 2017. The band performed their first concert since October 2016 at the House of Blues in Boston on April 28, 2018. In May 2018, Alice in Chains headlined the festivals Carolina Rebellion, Lunatic Luau, Pointfest, Northern Invasion, the WMMR BBQ festival in Philadelphia, and the Rock on the Range festival in Columbus, Ohio on May 18, 2018, in which they paid tribute to Chris Cornell on the first anniversary of his death covering two Soundgarden songs to close their set, "Hunted Down" and "Boot Camp", respectively. At the end of the show, the lights on stage spelled out "CC" for Chris Cornell and "SG" for Soundgarden as feedback rang out. The band started their European tour in June 2018, and headlined the Tons Of Rock Festival in Norway alongside Ozzy Osbourne and Helloween. Alice in Chains are also scheduled to headline KISW's Pain in the Grass festival in August 2018.
The band released a new single, "The One You Know", via Spotify, Amazon and iTunes on May 3, 2018. A music video directed by Adam Mason was released on YouTube the same day. "The One You Know" peaked at No. 9 on Billboard's Mainstream Rock chart.
During an interview with Eddie Trunk on Trunk Nation on May 7, 2018, Jerry Cantrell said that the new album would be released at the end of August 2018. The band also revealed that they talked to director Adam Mason, who is making a dark sci-film, about doing two separate pieces of art and maybe molding them together, and that the music video for "The One You Know" is the first chapter of molding Mason's film and the band's music videos together.
The second single, "So Far Under", was released on Alice in Chains' YouTube channel and on streaming platforms on June 27, 2018. It was also announced that the album would be titled Rainier Fog, with the release date scheduled for August 24, 2018. The album's artwork and the track listing were also revealed on the same day. Jerry Cantrell told Rolling Stone that the title Rainier Fog was inspired by the Mount Rainier in Seattle, and the title track is a tribute to the Seattle music scene. "This song is a little homage to all of that: where we come from, who we are, all of the triumphs, all of the tragedies, lives lived."
The album's third single, "Never Fade", was released on August 10, 2018, through digital and streaming services. The song is a tribute dedicated to frontman William DuVall's grandmother, Chris Cornell, and Alice in Chains' original singer Layne Staley. "Never Fade" peaked at No. 10 on Billboard's Mainstream Rock chart. A music video directed by Adam Mason was released on November 1, 2018, and continued the storyline from the music video of "The One You Know".
In June 2018, William DuVall said in an interview with Swedish website Rocksverige that the music video for "The One You Know" is the first chapter of what the band is hoping will be visuals for all ten songs from the album Rainier Fog, and in addition to that, will be a companion piece to the film that director Adam Mason was shooting.
On August 20, 2018, the baseball team Seattle Mariners hosted a special "Alice in Chains Night" at the Safeco Field in Seattle to promote Rainier Fog, with the team offering the fans a package that included a Safeco Field terrace club ticket, access to a pre-game listening party of the album, an Alice in Chains T-shirt and a Rainier Fog CD. Jerry Cantrell also threw out the ceremonial first pitch and delivered a strike before the Seattle Mariners vs. Houston Astros game.
To mark the launch of the album, on August 21, 2018, Alice in Chains performed an acoustic set at the top of Seattle's Space Needle and debuted the song "Fly". Alice in Chains were the first band to perform on the Space Needle's new "Loupe" glass floor, the world's first and only revolving glass floor 500 feet high. The concert was exclusive for an audience of SiriusXM subscribers. SiriusXM broadcast the concert on their channel Lithium on August 31, 2018.
On August 22, 2018, Alice in Chains sent fans on a Scavenger hunt to access a secret gig that the band would be performing in Seattle on August 24. Ten signed CD copies of Rainier Fog were hidden around the city as a ticket into the show, and the band asked the fans to keep an eye on their Instagram story for details on the 10 hidden locations. Once all 10 albums were found, the band revealed that the secret gig would be at the rock club The Crocodile, with limited tickets available with the purchase of their album at a pop-up event at the same venue the next day. Preview clips of each of the album tracks were posted on the band's Instagram.
The band also commemorated the release of the album with a pop-up museum installation at The Crocodile in Seattle on August 23 and 24. The museum featured rare Alice in Chains photos, limited-edition merchandise and memorabilia that showcased the band's 30+ year career.
Rainier Fog debuted at No. 12 on the Billboard 200 chart, selling 31,000 copies (29,000 in traditional album sales), in its first week of release. The album also debuted at No. 1 on Billboard's Top Rock Albums, Alternative Albums and Hard Rock Albums charts, and at No. 3 on the Vinyl Albums chart. Rainier Fog became Alice in Chains' first top 10 in the UK, peaking at No. 9, and topping UK's Rock & Metal Albums chart. The album has been nominated for a Grammy Award for Best Rock Album.
On December 13, 2018, the teaser of the film Black Antenna featuring the song "Rainier Fog" was released on Alice in Chains' official YouTube channel, with drummer Sean Kinney stating; "We've always toyed with the idea of creating videos for every song on one of our albums. Not only did we do that for Rainier Fog, it got totally out of hand and we made a whole goddamn movie. Everything that will be seen in the videos will be footage from Black Antenna to preface the complete film's release." "Rainier Fog" was released as a single on February 26, 2019. The official trailer for Black Antenna was released on Alice In Chains' YouTube Channel on February 28, 2019. Besides a 90-minute film, a 10-part web-series focused on each track from the album will also be released. Episodes 1 and 2, "The One You Know" and "Rainier Fog", respectively, were released on March 7, 2019. The tenth and last episode, "All I Am", was released on July 17, 2019. The official music video for "Rainier Fog" was released on YouTube on May 15, 2019, and was co-directed by Alice in Chains and Peter Darley Miller, who also directed the band's 2013 mockumentary, AIC 23.
On December 1, 2020, Alice in Chains was honored with the Founders Award from Seattle's Museum of Pop Culture. The benefit concert featured tribute performances from artists such as Ann Wilson, Korn, Metallica, Fishbone, Dallas Green, Billy Corgan, Tad Doyle, members of Soundgarden and Pearl Jam, among others. The event was made available for streaming for free and raised more than $600,000 for the museum in its first night. A compilation featuring highlights from the tribute was made available for streaming on Amazon Music.
Musical style
Although Alice in Chains has been labeled grunge by the mainstream media, Jerry Cantrell identifies the band as primarily heavy metal. He told Guitar World in 1996, "We're a lot of different things ... I don't quite know what the mixture is, but there's definitely metal, blues, rock and roll, maybe a touch of punk. The metal part will never leave, and I never want it to." The Edmonton Journal has stated, "Living and playing in Seattle might have got them the grunge tag, but they've always pretty much been a classic metal band to the core."
Over the course of their career, the band's sound has also been described as alternative metal, sludge metal, doom metal, drone rock, hard rock, and alternative rock. Regarding the band's constant categorization by the media, Cantrell stated "When we first came out we were metal. Then we started being called alternative metal. Then grunge came out and then we were hard rock. And now, since we've started doing this again I've seen us listed as: hard rock, alternative, alternative metal and just straight metal. I walked into an HMV the other day to check out the placement and see what's on and they've got us relegated back into the metal section. Right back where we started!" Drummer Sean Kinney rejects the grunge label, stating in a 2013 interview "I mean, before we first came out there was no grunge, they hadn't invented that word. Before they invented the word grunge we were alternative rock and alternative metal and metal and rock, and we didn't give a shit whatever, we were a rock and roll band!." According to Mike Inez, they were always the metal stepchildren of the Seattle scene.
The band are influenced to a great extent by English metal music; in 2018, Jerry Cantrell proclaimed Black Sabbath guitarist Tony Iommi as "one of his biggest" inspirations, whilst Layne Staley named his "first influences" as Black Sabbath and Deep Purple. Cantrell adjudged English rock singer Elton John as "the artist that made me want to be a musician." In addition, members of Alice in Chains have cited artists including AC/DC, Accept, Aerosmith, The Beatles, Black Flag, David Bowie, John Coltrane, Miles Davis, Dio, Funkadelic, Hanoi Rocks, Heart, Jimi Hendrix, Iron Maiden, King's X, Kiss, Led Zeppelin, Metallica, Motörhead, Mudhoney, Pink Floyd, Queensrÿche, the Rolling Stones, Rush, Scorpions, Soundgarden, The Stooges, Television, Thin Lizzy, U2, UFO, Van Halen, The Velvet Underground, Hank Williams, and ZZ Top as influential or inspirational.
Jerry Cantrell's guitar style combines "pummeling riffs and expansive guitar textures" to create "slow, brooding minor-key grinds". He is also recognized for his natural ability to blend acoustic and electric guitars. While down-tuned, distorted guitars mixed with Staley's distinctive "snarl-to-a-scream" vocals appealed to heavy metal fans, the band also had "a sense of melody that was undeniable," which introduced Alice in Chains to a much wider audience outside of the heavy metal underground.
According to Stephen Thomas Erlewine of AllMusic, Alice in Chains' sound has a "Black Sabbath-style riffing and an unconventional vocal style." The band has been described by Erlewine as "hard enough for metal fans, yet their dark subject matter and punky attack placed them among the front ranks of the Seattle-based grunge bands." Three of the band's releases feature acoustic music, and while the band initially kept these releases separate, Alice in Chains' self-titled album combined the styles to form "a bleak, nihilistic sound that balanced grinding hard rock with subtly textured acoustic numbers."
Alice in Chains is also noted for the unique vocal harmonies of Staley (or DuVall) and Cantrell, which included overlapping passages, dual lead vocals, and trademark harmonies typically separated by a major third. Cantrell said it was Staley who gave him the self-assurance to sing his own songs. Alyssa Burrows said the band's distinctive sound "came from Staley's vocal style and his lyrics dealing with personal struggles and addiction." Staley's songs were often considered "dark", with themes such as drug abuse, depression, and suicide, while Cantrell's lyrics often dealt with personal relationships.
Legacy
Alice in Chains has sold over 14 million records in the United States, and over 30 million records worldwide, released two number-one albums, had 23 top 40 singles, and has received eleven Grammy Award nominations. The band was ranked number 34 on VH1's 100 Greatest Artists of Hard Rock. Alice in Chains was named 15th greatest live band by Hit Parader, with Staley placing as 27th-greatest heavy metal vocalist of all time. The band's second album, Dirt, was named 5th-best album in the last two decades by Close-Up magazine in 2008.
In October 2008, Guitar World ranked Cantrell's solo in "Man in the Box" at No. 77 on their list of "100 Greatest Guitar Solos". In August 2009, Alice in Chains won the Kerrang! Icon Award.
In November 2011, Jar of Flies was ranked number four on Guitar World magazine's top ten list of guitar albums of 1994. It was also featured in Guitar World magazine's "Superunknown: 50 Iconic Albums That Defined 1994" list, and in May 2014, the EP was placed at number five on Loudwire's "10 Best Hard Rock Albums of 1994" list.
Pantera and Damageplan guitarist Dimebag Darrell had expressed his admiration for Cantrell's guitar work in an interview for Guitar International in 1995, saying that "the layering and the honest feel that Jerry Cantrell gets on [Alice in Chains' Dirt] record is worth a lot more than someone who plays five million notes."
Street musician Wesley Willis wrote a song about the band entitled "Alice in Chains", featured on his 1996 album Feel The Power.
Billy Corgan revealed that the song "Bleeding The Orchid" from The Smashing Pumpkins' 2007 album Zeitgeist has a bit of an homage to Alice in Chains in the harmonies and was indirectly inspired by the death of Staley.
Elton John stated that he is a fan of Alice in Chains and a big admirer of Cantrell. According to Jon Wiederhorn of MTV, Godsmack has "sonically followed Alice in Chains' lead while adding their own distinctive edge." Godsmack singer and founder Sully Erna has also cited Staley as his primary influence. Godsmack was named after the Alice in Chains song "God Smack" from the album Dirt. Staind has covered Alice in Chains' song "Nutshell" live, which appears on the compilation The Singles: 1996-2006, and also wrote a song entitled "Layne", dedicated to Staley, on the album 14 Shades of Grey. Three Days Grace also performs a cover of "Rooster", which can be seen on the DVD Live at the Palace. Other bands that have been influenced by Alice in Chains include 10 Years, Avenged Sevenfold, Breaking Benjamin, Creed, Dallas Green, Days of the New, Hoobastank, Incubus, Korn, Manic Street Preachers, Mudvayne, Nickelback, A Pale Horse Named Death, Puddle of Mudd, Queens of the Stone Age, Rains, Seether, Smile Empty Soul, Stone Sour, Tantric, Taproot, and Theory of a Deadman. Metallica said they have always wanted to tour with the band, citing Alice in Chains as a major inspiration for their 2008 release, Death Magnetic.
Alice in Chains has also had a significant influence on modern heavy metal. Their songs were covered by various metal bands such as In Flames, Opeth, Dream Theater, Secrets of the Moon, Suicide Silence, 36 Crazyfists, Cane Hill, Ektomorf, Dritt Skitt, Grave and Thou, who described their 2018 EP Rhea Sylvia as "a melodic grunge, Alice in Chains homage." In 2009, Anders Fridén of Swedish melodic death metal band In Flames cited Layne Staley as an inspiration for his vocals on the band's later albums. In addition to fellow musicians, the band has also received praise from critics, with Steve Huey of AllMusic calling them "one of the best metal bands of the '90s" upon reviewing the 1999 compilation Nothing Safe.
In 2009, the Vitamin String Quartet released the album The String Quartet Tribute to Alice in Chains, featuring instrumental versions on viola, violin and cello of 12 of the band's biggest hits.
In August 2015, journalist David de Sola published the biography Alice in Chains: The Untold Story. An updated version covering the period from 2014 to 2017 was published in November 2018. Neither the band nor their management had any involvement with the book. Sources tied directly to the band were interviewed instead.
In June 2017, Metal Injection ranked Alice in Chains at number 1 on their list of "10 Heaviest Grunge Bands". Ozzy Osbourne ranked Facelift among his list of "10 Favorite Metal Albums".
The claymation dolls of the band members used in the music video for "I Stay Away" are on display at the Rock and Roll Hall of Fame museum in Cleveland, Ohio.
Band members
Current members
Jerry Cantrell – lead guitar, lead vocals (1987–2002, 2005–present), rhythm guitar (1987–2002, 2005–2006)
Sean Kinney – drums, backing vocals (1987–2002, 2005–present)
Mike Inez – bass, backing vocals (1993–2002, 2005–present)
William DuVall – lead vocals, rhythm guitar (2006–present)
Former members
Layne Staley – lead vocals (1987–2002), occasional rhythm guitar (1992–2002; died 2002)
Mike Starr – bass, backing vocals (1987–1993; died 2011)
Touring members
Maynard James Keenan – lead vocals (2005)
Timeline
Discography
Studio albums
Facelift (1990)
Dirt (1992)
Alice in Chains (1995)
Black Gives Way to Blue (2009)
The Devil Put Dinosaurs Here (2013)
Rainier Fog (2018)
Awards and nominations
References
External links
VH1 Classic: Alice In Chains
1987 establishments in Washington (state)
2002 disestablishments in Washington (state)
2005 establishments in Washington (state)
American alternative metal musical groups
Columbia Records artists
EMI Records artists
American grunge groups
Heavy metal musical groups from Washington (state)
Kerrang! Awards winners
Musical groups established in 1987
Musical groups disestablished in 2002
Musical groups reestablished in 2005
Musical groups from Seattle
Musical quartets
Virgin Records artists
Capitol Records artists | true | [
"The affect heuristic is a heuristic, a mental shortcut that allows people to make decisions and solve problems quickly and efficiently, in which current emotion—fear, pleasure, surprise, etc.—influences decisions. In other words, it is a type of heuristic in which emotional response, or \"affect\" in psychological terms, plays a lead role. It is a subconscious process that shortens the decision-making process and allows people to function without having to complete an extensive search for information. It is shorter in duration than a mood, occurring rapidly and involuntarily in response to a stimulus. Reading the words \"lung cancer\" usually generates an affect of dread, while reading the words \"mother's love\" usually generates a feeling of affection and comfort. The affect heuristic is typically used while judging the risks and benefits of something, depending on the positive or negative feelings that people associate with a stimulus. It is the equivalent of \"going with your gut\". If their feelings towards an activity are positive, then people are more likely to judge the risks as low and the benefits high. On the other hand, if their feelings towards an activity are negative, they are more likely to perceive the risks as high and benefits low.\n\nConcept\nThe theory of affect heuristic is that a human being's affect can influence how he or she makes decisions. Research has shown that risk and benefits are negatively correlated in people's minds. This was found after researchers found that the inverse relationship between perceived risk and perceived benefit of an activity was linked to the strength of positive or negative affect associated with the activity as measured by rating the activity on bipolar scales (e.g. good/bad). This implies that people base their judgements of an activity or a technology not only on what they think about it, but also on how they feel about it. The affect heuristic gained early attention in 1980 when Robert B. Zajonc argued that affective reactions to stimuli are often the first reaction which occur automatically and subsequently influencing the way in which we process and judge information. The affect heuristic received more recent attention when it was used to explain the unexpected negative correlation between benefit and risk perception. Finucane, Alhakami, Slovic and Johnson theorized in 2000 that a good feeling towards a situation (i.e., positive affect) would lead to a lower risk perception and a higher benefit perception, even when this is logically not warranted for that situation. This implies that a strong emotional response to a word or other stimulus might alter a person's judgment. He or she might make different decisions based on the same set of facts and might thus make an illogical decision. Overall, the affect heuristic is of influence in nearly every decision-making arena.\n\nTheoretical accounts of affect\nAn alternative thought to the “gut feeling” response is Antonio Damasio's somatic marker hypothesis. It is the opinion that thought is made largely from images which include perceptual and symbolic representations. These images then become “marked” by positive or negative feelings linked directly or indirectly to somatic states. When a negative somatic marker is linked to an image of a future outcome, it sounds an alarm in the brain. When a positive marker is linked to an image, it becomes a signal of incentive. He hypothesized that somatic markers increase the accuracy of the decision process and the absence of these markers, mostly seen in people with certain types of brain damage, degrades the ability to make good decisions. This hypothesis arose when observing patients with damage to their prefrontal cortex who had severe impairments in personal and social decision-making despite their other abilities.\n\nThought and feeling\nIt has been argued by researchers that people use affect heuristics as a first response to an issue, they rely on spontaneous affective reactions which make it more efficient than having to research and analyze external information. Slovic, Finucane, Peters and MacGregor (2005) contrast two modes of thinking: the analytic system and the experiential system. The analytic system, also referred to as the rational system, is thought that is considered to be slow and requires effort; it requires consciousness, probabilities, logical reasoning, and substantial evidence. The experiential system is the exact opposite. It is intuitive and mostly automatic which makes it more convenient for people because it does not require effort or consciousness. It relies on images, metaphors, and narratives which are then used to estimate the probability of a hazard. This is due to the experience of affect, in other words, a “gut feeling.” Multiple studies including the one done by Miller and Ireland (2005) show how \"gut feeling\" or intuitive decisions affect various executives and managers of many companies. Many of the individuals studied use intuition as an effective approach to making important decisions. The experimenters' goal is to evaluate the risk and benefits of using intuition. Their results show that this is a troublesome decision tool. Affective reactions that accompany judgements are not necessarily voluntary, but are automatic responses. Zajonc states that “one might be able to control the expression of emotion, but not the experience of it itself.” However, he also clarifies that feelings are not free of thought and that thoughts are not free of feeling. The experiential system also takes past experiences into account. In other words, if a person has already experienced a certain issue, he or she is more likely to take more precautions towards the issue.\n\nExperimental findings\nMany studies have been done to further look into affect heuristics and many have found that these heuristics shape our attitudes and opinions towards our decisions, especially risk perception. These studies demonstrate how affect is an important characteristic of the decision-making process in many different domains and aspects as well as how it can lead to a strong conditioner of preference. As demonstrated below, affect is independent of cognition which indicate that there are conditions where affect does not require cognition.\n\nSubliminal affective response\nThe cause of affect does not necessarily have to be consciously perceived. A study conducted by Winkielman, Zajonc and Schwarz (1997) demonstrated the speed at which an affective reaction can influence judgements. To do this they used a subliminal priming paradigm where participants were \"primed\" through exposure to either a smiling face, a frowning face, or a neutral polygon presented at about of a second. This was considered an amount of time where the nature of the stimuli could not be recalled. Participants were then exposed to an ideograph (e.g. a Chinese character) for two seconds and asked to rate the ideograph on a scale of liking. Researchers found that participants preferred the ideograph preceded with a smiling face as opposed to those preceded by a frowning face or neutral polygon despite the fact that the smiling face was only shown for of a second.\n\nThe same experiment demonstrated the persistence of initial affect. During a second session, participations were primed with the same characters, but these characters were preceded by a different face that they were not previously exposed to (e.g. those previously exposed to the smiling face were now exposed to the neutral polygon). Participants continued to show preference for the characters based on the first association, even though the second exposure was preceded by a different affective stimulus. In other words, the second priming was ineffective because the effects of the first priming still remained. If the participant liked a character following exposure to a smiling face, they would continue to like the character even when it was preceded by a frowning face during the second exposure. (The experimental outcome was statistically significant and adjusted for variables such as non-affective preference for certain characters).\n\nInsensitivity to numbers\nSometimes affective responses to certain stimuli are a result of a lack of sensitivity to other factors, for example, numbers. Slovic and Peters (2006) did a study on psychophysical numbing, the inability to discriminate change in a physical stimulus as the magnitude of the stimulus increases, and found that students more strongly supported an airport-safety measure that was expected to save a high percentage of 150 lives at risk as opposed to a measure that was expected to save 150 lives. This is thought to have occurred because although saving 150 lives is good, it is somewhat harder to comprehend and thus the decision comes from the positive feeling associated with the higher percentage.\n\nThe influence of time\nResearch has been conducted in the influence that time plays in decision-making. In two experiments, Finucane, Alhakami, Slovic and Johnson (2000) studied the affect heuristic under time pressure and the influence that providing risk and benefit information has on the affect heuristic. The researchers compared individuals under no time pressure and those with time pressure. They predicted that individuals under time pressure would rely more heavily on their affect in order to be more efficient in their responses whereas those under no time pressure would use more logic in their decision-making. To do this, university students were randomly assigned to one of the two conditions (time pressure or no time pressure) and one of the two counterbalancing orders (risk judgements followed by benefit judgements or vice versa). They were then given a task in which they had to make judgements about the risk or benefit of certain activities and technologies. As predicted, individuals in the time-pressure condition took less time to make risk judgements than did individuals in the no time pressure condition. In the second experiment, students again had to make judgements about certain activities, but this time were given additional information about the risk and benefits. Information was framed as being high risk, low risk, high benefit or low benefit. The researchers found that this additional information did in fact influence their judgements.\n\nTwo similar studies were conducted by Wilson and Arvai in 2006, in which they also looked at the affect heuristic affects high and low risk options. These experiments examine the affect heuristic and the “evaluability hypothesis”, the joint evaluation when options are evaluated in a side-by-side comparison and separate evaluation where options are evaluated on their own. They take this concept and discuss how it relates to the affect heuristic by specifically looking at making traits of an option more or less meaningful in terms of the context of choice, more specifically, affect. To examine this relationship more closely, they conducted two experiments where participants received quantitative information about the nature of risks and were placed in one of two groups: affect-poor combined with high risks and affect-rich combined with low risks. In their first study, they looked how the influence of affect on evaluability in joint evaluations as compared to separate evaluations. To this, participants were asked to make choices about the affect-rich problem of crime and the affect-poor problem of deer overpopulation. Participants were asked to rate how they perceived crime and deer overpopulation by rating on a scale from \"very good\" to \"very bad.\" They found that participants ignored the quantitative information and focused on the affect characteristics.\n\nFear appeals\nHealth campaigns often use “fear appeals” to grab the attention of their audience. Fear appeals are a type of advertising that specifically uses methods of creating anxiety in the consumer which results in the consumer wanting to cure this fear by purchasing the product. In a study by Averbeck, Jones, and Robertson (2011), researchers look at how prior knowledge influences one's response to fear appeals. Surveys were distributed which manipulated prior knowledge as low or high and two different topics: sleep deprivation or spinal meningitis. Various scale were used to test how prior knowledge affects certain health-related issues. Researchers found that individuals who had prior knowledge in a certain subject exhibited less fear and were least likely to fall prey to the affect heuristic as opposed to individuals that did not have prior knowledge who exhibited more fear and were more likely to fall prey.\n\nAnother example of how fear appeals are used in marketing today is through the findings presented in the experiment by Schmitt and Blass (2008). They produced two versions of an anti-smoking film. One contained high fear arousal and one did not. When exposed to these films, the participants (46 non-smoking students and 5 smoking students) expressed stronger anti-smoking behavioral intentions than when they viewed the low fear-arousal version.\n\nClimate change\nResearch has shown that Americans are aware of climate change, but do not consider it to be a serious problem due to the lack of an affective response. Many people report as not having experienced the consequences of climate change or that it is a long-term consequence that will not happen in the near future. Therefore, it is considered to be of lower priority and not much is done as a solution to global climate change.\n\nRisk communication\nResearch on the affect heuristic had its origin in risk perception. Communicating risk is meant to improve the correspondence between the magnitude of the risk of an issue and the magnitude to which people respond to that risk. Affect, specifically negative affect, is an important method for increasing perceived risk considering its influences on perceived risk and thus has been utilized as essential for communicating risk to the public.\n\nRaising risk awareness is thought to be increased when risk information is presented in the form of frequences (e.g. “Within 40 years there is a 33% probability of flood”) or probabilities (e.g. “Each year there is a 1% probability of flood). This method is thought to evoke an affective response which then increases the availability of risk which results in greater perceived risk. This demonstrates how the way in which information is presented influences the way in which people interpret the information, more specifically, potential risks. Research also shows that people's financial risk taking is affected by their emotional state,\n\nThe affect heuristic is certainly evident in product innovations we see in the market. The processes consumers use to weigh the potential risk and benefits associated with purchasing such innovations are in constant motion. A study by Slovic and King (2014) tries to explain this specific phenomenon. Their experiment addresses the extent to which feelings dominate early perceptions of new products. Participants were exposed to three innovations in pretest and posttest design. Through this study, they concluded that risks and benefits associated with innovations are related to the consumer's evaluations of the products.\n\nCancer\nResearchers have looked at the affective and experiential modes of thinking in terms of cancer prevention. Research has shown that affect plays a significant role in whether people choose to get screened for certain types of cancer. Current research is now looking into how to communicate the risks and benefits of cancer prevention and treatment options. So far research has shown that the way in which information is framed does play a role in the way in which the information is interpreted. Research has also shown that treatment options may not have significant meaning to patients unless it has an affective connection. It is for this reason that researchers are looking into using affective coding such as icon arrays to make numerical information easier to understand and process.\n\nAir Pollution \nAn experiment composed by Hine and Marks (2007) examines the role of affect heuristics in maintaining wood-burning behavior. The individuals analyzed in this study were 256 residents of a small Australian city where high levels of wood smoke pollution are present. With the negative effects of air pollution evident, their studies found that individuals who used wood heaters exhibited less support for wood smoke control policies. These individuals were aware that their wood heaters were part of the problem. Even with that awareness, their positive affections and emotions towards wood heating trumped all negative evidence for it.\n\nSmiling\nResearch has been done on how smiling can cause affective responses and thus influence our opinions of others. An experiment by LaFrance and Hecht (1995) investigated whether a smiling target would elicit more leniency than those that do not. Participants judged a case of potential academic misconduct and were asked to rate a list of subjects. Materials included photos of a female target either showing a neutral expression, felt smile, false smile, or miserable smile. Researchers found that the student pictured as smiling received less punishment than did the student who did not smile despite the fact that the smiling student was not seen as less guilty. They did not find a significant difference between the different smiles. Smiling students were also rated as more trustworthy, honest, genuine, good, obedient, sincere, and admirable compared to the student that did not smile.\n\nTo the previous studies evidence, there is further evidence on the effect of smiling on a person’s perception. They contain it in the experiment by Delevati and Cesar (1994). Brazilian undergraduates perceived a slide of a male and female person. Smiling faces were portrayed and non-smiling faces were portrayed. The participants used 12 different adjectives to judge the portraits. Results showed those persons showing a smile received more favorable perceptions than those who did not. Generally speaking, a smiling person can produce warmer feelings in the perceiver than the non-smiling person.\n\nMemory load\nResearchers have studied how one's memory load increases one's chances of using the affect heuristic. In a study by Shiv and Fedorikhin (1999), participants were asked to either memorize a two-digit number (low cognitive demand) or a seven-digit number (high cognitive demand). Participants were then asked to enter another room where they would report their number. On the way there, they were asked for their preference for two snacks: chocolate cake (more favorable affect, less favorable cognition) or fruit salad (less favorable affect, more favorable cognition). Researchers predicted that participants given the seven-digits to remember (high cognitive load) would reduce their deliberation process due to having to remember a large amount of information. This would increase the chances of these participants choosing the cake over the fruit salad due to it being the more affectively favorable option. This hypothesis proved true with participants choosing the chocolate cake 63% of the time when given a high cognitive load and only 41% when given a low cognitive load. In the same study they also tested the impulsiveness of the participants in moderating the effects of processing-resources of choice and at the time they were asked for their preference for the two snacks high cognitive demand chose the chocolate cake 84.2%. This provides evidence that people's decisions can be influenced by affect heuristic in a relatively spontaneous manner from the stimulus, with little involvement of higher-order cognitive demand.\n\nLasting effects\nAnother common situation involving affect heuristic is where a strong, emotional first impression can inform a decision, even if subsequent evidence weight cognitively against the original decision made. In a study by Sherman, Kim and Zajonc (1998), they investigated how long the induced effects of an affective response could last. Participants were asked to study Chinese characters and their English meanings. Half of the meanings were positive (e.g. beauty) and the other half negative (e.g. disease). Participants were then tested on these meanings, which was followed by a task in which they were given pairs of characters and asked to choose which character they preferred. Researchers found that participants preferred the character with a positive meaning.\n\nIn the same experiment, participants were given a new task where the characters were presented with a neutral meaning (e.g. linen) and participants were told that these were the true meanings of the character. The testing procedure was the same and despite exposing participants with the new meanings, their preferences in characters remained the same. Characters that were paired with positive meanings continued to be preferred.\n\nDisadvantages\nWhile heuristics can be helpful in many situations, it can also lead to biases which can result in poor decision-making habits. Like other heuristics, the affect heuristic can provide efficient and adaptive responses, but relying on affect can also cause decisions to be misleading.\n\nSmoking\nStudies have looked at how the affect influences smoking behavior. Smokers tend to act experientially in the sense that they give little conscious thought to the risks before they start. It is usually as a result of affective responses in the moment that occur when seeing others partake in the behavior. Epstein (1995) found that there has been quite a bit of manipulation of consumers when it comes to packaging and marketing products. This is especially the case with tobacco companies. Research has shown that cigarette advertisements were designed to increase the positive affect associated with smoking and decrease the perceptions of risk. Therefore, seeing this advertisement could lead people astray to start smoking because of its induced appeal. In a study by Slovic et al. (2005), he released a survey to smokers in which he asked “If you had it to do all over again, would you start smoking?” and more than 85% of adult smokers and about 80% of young smokers (between the ages of 14-22) answered “No.” He found that most smokers, especially those that start at a younger age, do not take the time and think about how their future selves will perceive the risks associated with smoking. Essentially, smokers give little conscious thought to smoking before they start and it is usually after they have started smoking and have become addicted that they learn new information about health risk.\n\nReferences\n\nFurther reading\n \n \n \n\nFeeling\nHeuristics\nExperimental psychology",
"Special Affect (originally called Special Affects) was an American new wave band active from the late 1970s until 1981. They were notable for comprising the earliest-known recordings of future Ministry founder Al Jourgensen, future My Life with the Thrill Kill Kult vocalist Frank Nardiello, future Concrete Blonde drummer Harry Rushakoff, and bassist Martin Sorenson.\n\nThe band released a 7\" EP called Mood Music in 1979. This release features original guitarist Tom Hoffman, who left the band in 1979 and was replaced by Jourgensen. \"Vertigo Feeling\", from this EP, would eventually be widely released on the Rykodisc CD Industrial Family Platter!, a compilation of songs by Ministry and My Life with the Thrill Kill Kult. Special Affect's only album, Too Much Soft Living, which was released in 1981, was advertised as the original soundtrack to a film of the same name; however, no such film exists.\n\nSpecial Affect moved to San Francisco for a brief period with support from a financier, however during a gig at the DNA Lounge, Rushakoff and Jourgensen had an altercation on stage, which resulted in the group disbanding.\n\nTwo songs on Ministry's Early Trax compilation, \"I'm Falling\" and \"Overkill\", date back to the time of Special Affect, and feature Special Affect's bassist Martin Sorenson.\n\nReferences \n\n \nAmerican new wave musical groups\nMusical groups from Chicago\nMusical groups established in 1978\nMusical groups disestablished in 1981"
]
|
[
"Alice in Chains",
"Jar of Flies (1993-1994)",
"What is the Jar of Flies?",
"Columbia Records released Alice in Chains' second acoustic-based EP, Jar of Flies, on January 25, 1994.",
"How did this EP do?",
"Written and recorded in one week, Jar of Flies debuted at number one on the Billboard 200, becoming the first EP--and first Alice in Chains release--to top the charts.",
"Are there any other interesting aspects about this article?",
"After the release of Jar of Flies, Staley entered rehab for heroin addiction.",
"How did this affect the band?",
"Staley began using heroin again. Staley's condition prompted the other band members to cancel all scheduled dates one day before the start of the tour,"
]
| C_68e092ce2d2f47e9ba7736c8e2acfae9_0 | Did they fire stanley? | 5 | Did Jar of Flies fire stanley? | Alice in Chains | Following Alice in Chains' extensive 1993 world tour, Staley said the band "just wanted to go into the studio for a few days with our acoustic guitars and see what happened". "We never really planned on the music we made at that time to be released. But the record label heard it and they really liked it. For us, it was just the experience of four guys getting together in the studio and making some music." Columbia Records released Alice in Chains' second acoustic-based EP, Jar of Flies, on January 25, 1994. Written and recorded in one week, Jar of Flies debuted at number one on the Billboard 200, becoming the first EP--and first Alice in Chains release--to top the charts. Paul Evans of Rolling Stone called the EP "darkly gorgeous", and Steve Huey said, "'Jar of Flies' is a low-key stunner, achingly gorgeous and harrowingly sorrowful all at once". Jar of Flies features Alice in Chains' first number-one single on the Mainstream Rock charts, "No Excuses". The second single, "I Stay Away", reached number ten on the Mainstream rock charts, while the final single "Don't Follow", reached number 25. Jar of Flies has been certified triple platinum by the RIAA, with over 2 million copies sold in the United States during its first year. After the release of Jar of Flies, Staley entered rehab for heroin addiction. The band was scheduled to tour during the summer of 1994 with Metallica, Suicidal Tendencies, Danzig, and Fight, as well as a slot during Woodstock '94, but while in rehearsal for the tour, Staley began using heroin again. Staley's condition prompted the other band members to cancel all scheduled dates one day before the start of the tour, putting the band on hiatus. Alice in Chains was replaced by Candlebox on the tour. Susan Silver's management office sent out a statement saying that the decision to withdraw from the Metallica tour and Woodstock was "due to health problems within the band." The band broke up for six months. Kinney told Rolling Stone in 1996, "Nobody was being honest with each other back then. If we had kept going, there was a good chance we would have self-destructed on the road, and we definitely didn't want that to happen in public." CANNOTANSWER | The band broke up for six months. Kinney told Rolling Stone in 1996, " | Alice in Chains (often abbreviated as AIC) is an American rock band from Seattle, Washington, formed in 1987 by guitarist and vocalist Jerry Cantrell and drummer Sean Kinney, who later recruited bassist Mike Starr and lead vocalist Layne Staley. Starr was replaced by Mike Inez in 1993. William DuVall joined the band in 2006 as co-lead vocalist and rhythm guitarist, replacing Staley, who died in 2002. The band took its name from Staley's previous group, the glam metal band Alice N' Chains.
Often associated with grunge music, Alice in Chains' sound incorporates heavy metal elements. The band is known for its distinctive vocal style, which often included the harmonized vocals between Staley and Cantrell (and later Cantrell and DuVall). Cantrell started to sing lead vocals on the 1992 acoustic EP Sap, and his role continued to grow in the following albums, making Alice in Chains a two-vocal band.
Alice in Chains rose to international fame as part of the grunge movement of the early 1990s, along with other Seattle bands such as Nirvana, Pearl Jam, and Soundgarden. They achieved success during the era with the albums Facelift (1990), Dirt (1992), Alice in Chains (1995), as well as the EP Jar of Flies (1994). Although never officially disbanding, Alice in Chains was plagued by extended inactivity from 1996 onward, due to Staley's substance abuse, which resulted in his death in 2002. The band regrouped in 2006, with DuVall taking over as lead vocalist full-time, and they have since released three more albums: Black Gives Way to Blue (2009), The Devil Put Dinosaurs Here (2013), and Rainier Fog (2018).
Alice in Chains have sold over 30 million records worldwide, and over 14 million records in the US alone. The band has had 18 Top 10 songs on Billboard's Mainstream Rock Tracks chart, 5 No. 1 hits, and received 11 Grammy Award nominations. The band was ranked number 34 on VH1's 100 Greatest Artists of Hard Rock and was ranked as the 15th greatest live band by Hit Parader. Since its formation, Alice in Chains has released six studio albums, three EPs, three live albums, four compilations, two DVDs, 43 music videos, and 32 singles.
History
1984–1989: Formation and early years
Before the formation of Alice in Chains, then-drummer Layne Staley landed his first gig as a vocalist when he auditioned to sing for a local glam metal band known as Sleze after receiving some encouragement from his stepbrother Ken Elmer. Other members of this group at that time were guitarists Johnny Bacolas and Zoli Semanate, drummer James Bergstrom, and bassist Byron Hansen. This band went through several lineup changes culminating with Nick Pollock as their sole guitarist and Bacolas switching to bass before discussions arose about changing their name to Alice in Chains. This was prompted by a conversation that Bacolas had with Russ Klatt, the lead singer of Slaughter Haus 5, about backstage passes. One of the passes said "Welcome to Wonderland", and they started talking about that being a reference to Alice in Wonderland, until Klatt said, "What about Alice in Chains? Put her in bondage and stuff like that." Bacolas thought the name "Alice in Chains" was cool and brought it up to his Sleze bandmates and everyone liked it, so they decided to change the name of the band. Due to concerns over the reference to female bondage, the group ultimately chose to spell it differently as Alice N' Chains to allay any parental concerns, though Staley's mother Nancy McCallum has said she was still not happy with this name at first. According to Bacolas, the decision to use the apostrophe-N combination in their name had nothing to do with the Los Angeles band Guns N' Roses. The name change happened in 1986, a year before Guns N' Roses became a household name with their first album Appetite for Destruction, released in July 1987.
Staley met guitarist Jerry Cantrell at a party in Seattle around August 1987. A few months prior, Cantrell had watched a concert of Alice N' Chains in his hometown at the Tacoma Little Theatre, and was impressed by Staley's voice. Cantrell was homeless after being kicked out of his family's house, so Staley invited Cantrell to live with him at the rehearsal studio Music Bank, and the two struggling musicians became roommates.
Alice N' Chains soon disbanded, and Staley joined a funk band. Cantrell's band, Diamond Lie, broke up and he wanted to form a new band, so Staley gave him the phone number of Melinda Starr, the girlfriend of drummer Sean Kinney, so that Cantrell could talk to him. Cantrell called the number and set up a meeting with Kinney. Kinney and his girlfriend went to the Music Bank and listened to Cantrell's demos, who mentioned that they needed a bass player to jam with them, and he had someone in mind: Mike Starr, with whom Cantrell had played in a band in Burien called Gypsy Rose. Kinney then mentioned that his girlfriend was actually Mike Starr's sister, and that he had been playing in bands together with Starr since they were kids. Kinney called Starr and a few days later he started jamming with him and Cantrell at the Music Bank, but they didn't have a singer.
Staley's funk band also required a guitarist at the time, and Staley asked Cantrell to join as a sideman. Cantrell agreed on condition that Staley join his band. Because Cantrell, Starr and Kinney wanted Staley to be their lead singer, they started auditioning terrible lead singers in front of Staley to send a hint. The last straw for Staley was when they auditioned a male stripper – he decided to join the band after that. Eventually the funk project broke up, and in 1987 Staley joined Cantrell's band on a full-time basis. Two weeks after the band's formation, they were playing a gig at Washington State University, trying to fill out a 40-minute set with a couple of original songs along with Hanoi Rocks and David Bowie covers.
The band played a couple of gigs in clubs around the Pacific Northwest, calling themselves different monikers, including Diamond Lie, the name of Cantrell's previous band, and "Fuck", before eventually adopting the name that Staley's previous band had initially flirted with, Alice in Chains. Staley contacted his former bandmates and asked for permission to use the name. Nick Pollock wasn't particularly thrilled about it at the time and thought he should come up with a different name, but ultimately both he and James Bergstrom gave Staley their blessing to use the name.
Local promoter Randy Hauser became aware of the band at a concert and offered to pay for demo recordings. However, one day before the band was due to record at the Music Bank studio in Washington, police shut down the studio during the biggest cannabis raid in the history of the state. The final demo, completed in 1988, was named The Treehouse Tapes and found its way to music managers Kelly Curtis and Susan Silver, who also managed the Seattle-based band Soundgarden. Curtis and Silver passed the demo on to Columbia Records' A&R representative Nick Terzo, who set up an appointment with label president Don Ienner. Based on The Treehouse Tapes, Terzo signed Alice in Chains to Columbia in 1989. The band also recorded another untitled demo over a three-month period in 1989. This recording can be found on the bootleg release Sweet Alice.
1990–1992: Facelift and Sap
Alice in Chains soon became a top priority of the label, which released the band's first official recording in July 1990, a promotional EP called We Die Young. The EP's lead single, "We Die Young", became a hit on metal radio. After its success, the label rushed Alice in Chains' debut album into production with producer Dave Jerden. Cantrell stated the album was intended to have a "moody aura" that was a "direct result of the brooding atmosphere and feel of Seattle."
The resulting album, Facelift, was released on August 21, 1990, peaking at number 42 in the summer of 1991 on the Billboard 200 chart. Facelift was not an instant success, selling under 40,000 copies in the first six months of release, until MTV added "Man in the Box" to regular daytime rotation. The single hit number 18 on the Mainstream rock charts, with the album's follow up single, "Sea of Sorrow", reaching number 27, and in six weeks Facelift sold 400,000 copies in the US. The album was a critical success, with Steve Huey of AllMusic citing Facelift as "one of the most important records in establishing an audience for grunge and alternative rock among hard rock and heavy metal listeners." Sammy Hagar claimed he invited the band to tour with Van Halen after he saw the music video for "Man In The Box" on MTV.
Facelift was certified gold by the Recording Industry Association of America (RIAA) for selling a half-million copies on September 11, 1991, becoming the first album from Seattle's Grunge movement to be certified gold. The band continued to hone its audience, opening for such artists as Iggy Pop, Van Halen, Poison, and Extreme. Facelift has since been certified triple-platinum by the RIAA, for shipments of three million copies in the United States.
The concert at the Moore Theatre in Seattle on December 22, 1990, was recorded and released on VHS on July 30, 1991, as Live Facelift. It features five live songs and three music videos. The home video has been certified gold by the RIAA for sales exceeding 50,000 copies.
In early 1991, Alice in Chains landed the opening slot for the Clash of the Titans tour with Anthrax, Megadeth, and Slayer, exposing the band to a wide metal audience but receiving mainly poor reception. Alice in Chains was nominated for a Best Hard Rock Performance Grammy Award in 1992 for "Man in the Box" but lost to Van Halen for their 1991 album For Unlawful Carnal Knowledge.
Following the tour, Alice in Chains entered the studio to record demos for its next album, but ended up recording five acoustic songs instead. While in the studio, drummer Sean Kinney had a dream about "making an EP called Sap". The band decided "not to mess with fate", and on February 4, 1992, Alice in Chains released their second EP, Sap. The EP was released while Nirvana's Nevermind was at the top of the Billboard 200 charts, resulting in a rising popularity of Seattle-based bands, and of the term "grunge music". Sap was certified gold within two weeks. The EP features Cantrell on lead vocals on the opening track, "Brother", and guest vocals by Ann Wilson from the band Heart, who joined Staley and Cantrell for the choruses of "Brother" and "Am I Inside". The EP also features Mark Arm of Mudhoney and Chris Cornell of Soundgarden, who shared vocals with Staley and Cantrell on the song "Right Turn", credited to "Alice Mudgarden" in the liner notes.
In 1992, Alice in Chains appeared in the Cameron Crowe film Singles, performing as a "bar band". The band also contributed the song "Would?" to the film's soundtrack, whose video received an award for Best Video from a Film at the 1993 MTV Video Music Awards.
1992–1993: Dirt
In March 1992, the band returned to the studio. With new songs written primarily on the road, the material has an overall darker feel than Facelift, with six of the album's thirteen songs dealing with the subject of addiction. "We did a lot of soul searching on this album. There's a lot of intense feelings." Cantrell said, "We deal with our daily demons through music. All of the poison that builds up during the day we cleanse when we play."
On September 29, 1992, Alice in Chains released its second album, Dirt. The album peaked at number six on the Billboard 200 and since its release has been certified quadruple platinum by the RIAA, making Dirt the band's highest selling album to date. The album was a critical success, with Steve Huey of Allmusic praising the album as a "major artistic statement, and the closest they ever came to recording a flat-out masterpiece." Chris Gill of Guitar World called Dirt "huge and foreboding, yet eerie and intimate", and "sublimely dark and brutally honest."
Dirt spawned five singles that reached the top 30 on the Billboard Mainstream Rock chart: "Would?", "Rooster", "Them Bones", "Angry Chair", and "Down in a Hole", and remained on the charts for nearly two years. Alice in Chains was added as openers to Ozzy Osbourne's No More Tours tour. Days before the tour began, Layne Staley broke his foot in an ATV accident, forcing him to use crutches on stage.
Starr left the band shortly after the Hollywood Rock concert in Rio de Janeiro on January 22, 1993, stating that he wanted to spend more time with his family. Staley told Rolling Stone in 1994 about Starr leaving the band, "It was just a difference in priorities. We wanted to continue intense touring and press. Mike was ready to go home." Years later, Starr claimed that he was fired due to his drug addiction.
Starr was replaced by former Ozzy Osbourne bassist Mike Inez. Inez had met Alice in Chains during Ozzy Osbourne's No More Tours tour and became friends with them. When the band was in Brazil, they called Inez to join them and he accepted. Inez wanted to do the shows in Brazil and even got his immunization shots, but the band called him back telling that Starr wanted to do the last two shows in Brazil, so they would meet Inez in London instead. Inez ended up getting sick with his vaccination shots for a couple of days. Inez played his first concert with Alice in Chains on January 27, 1993, at the Camden Underworld in London.
In April 1993, the band recorded two songs with Inez, "What the Hell Have I" and "A Little Bitter", for the Last Action Hero soundtrack. During the summer of 1993, Alice in Chains toured with the alternative music festival Lollapalooza, their last major tour with Staley.
1993–1994: Jar of Flies
Following Alice in Chains' extensive 1993 world tour, Staley said the band "just wanted to go into the studio for a few days with our acoustic guitars and see what happened." "We never really planned on the music we made at that time to be released. But the record label heard it and they really liked it. For us, it was just the experience of four guys getting together in the studio and making some music."
Columbia Records released Alice in Chains' second acoustic-based EP, Jar of Flies, on January 25, 1994. Written and recorded in one week, Jar of Flies debuted at number one on the Billboard 200, becoming the first EP—and first Alice in Chains release—to top the charts.
Paul Evans of Rolling Stone called the EP "darkly gorgeous", and Steve Huey said, "'Jar of Flies' is a low-key stunner, achingly gorgeous and harrowingly sorrowful all at once." Jar of Flies features Alice in Chains' first number-one single on the Mainstream Rock charts, "No Excuses". The second single, "I Stay Away", reached number ten on the Mainstream rock charts, while the final single "Don't Follow", reached number 25. Jar of Flies has been certified triple platinum by the RIAA, with over 2 million copies sold in the United States during its first year. Jar of Flies received two Grammy nominations, Best Hard Rock Performance for "I Stay Away", and Best Recording Package.
After the release of Jar of Flies, Staley entered rehab for heroin addiction. The band was scheduled to tour during the summer of 1994 with Metallica, Suicidal Tendencies, Danzig, and Fight, as well as a slot during Woodstock '94, but while in rehearsal for the tour, Staley began using heroin again. Staley's condition prompted the other band members to cancel all scheduled dates one day before the start of the tour, putting the band on hiatus. Alice in Chains was replaced by Candlebox on the tour. Susan Silver's management office sent out a statement saying that the decision to withdraw from the Metallica tour and Woodstock was "due to health problems within the band."
The band broke up for six months. Kinney told Rolling Stone in 1996, "Nobody was being honest with each other back then. If we had kept going, there was a good chance we would have self-destructed on the road, and we definitely didn't want that to happen in public."
1995–1996: Alice in Chains
While Alice in Chains was inactive during 1995, Staley joined the "grunge supergroup" Mad Season, which also featured Pearl Jam guitarist Mike McCready, bassist John Baker Saunders from The Walkabouts, and Screaming Trees drummer Barrett Martin. Mad Season released one album, Above, for which Staley provided lead vocals and the album artwork. The album spawned a number-two Mainstream Rock chart single, "River of Deceit", as well as a home video release of Live at the Moore.
In April 1995, Alice in Chains entered Bad Animals Studio in Seattle with producer Toby Wright, who had previously worked with Corrosion of Conformity and Slayer. While in the studio, an inferior version of the song "Grind" was leaked to radio, and received major airplay. On October 6, 1995, the band released the studio version of the song to radio via satellite uplink to stem excessive spread of taped copies of the song.
On November 7, 1995, Columbia Records released the eponymous album, Alice in Chains, which debuted at number one on the Billboard 200 and has since been certified triple platinum. Of the album's four singles, "Grind", "Again", "Over Now", and "Heaven Beside You", three feature Cantrell on lead vocals. Jon Wiederhorn of Rolling Stone called the album "liberating and enlightening, the songs achieve a startling, staggering and palpable impact."
On December 12, 1995, the band released the home video The Nona Tapes, a mockumentary featuring interviews with the band members conducted by journalist Nona Weisbaum (played by Jerry Cantrell), and the music video for "Grind".
The song "Got Me Wrong" unexpectedly charted three years after its release on the Sap EP. The song was re-released as a single on the soundtrack for the independent film Clerks in 1994, reaching number seven on the Mainstream Rock Tracks chart. The band opted not to tour in support of Alice in Chains, adding to the rumors of drug abuse.
Alice in Chains resurfaced on April 10, 1996, to perform their first concert in two and a half years for MTV Unplugged, a program featuring all-acoustic set lists. The performance featured some of the band's highest-charting singles, including "Rooster", "Down in a Hole", "Heaven Beside You", "No Excuses" and "Would?", and introduced a new song, "Killer Is Me", with Cantrell on lead vocals. The show marked Alice in Chains' only appearance as a five-piece band, adding second guitarist Scott Olson. A live album of the performance was released in July 1996, debuting at number three on the Billboard 200, and was accompanied by a home video release, both of which received platinum certification by the RIAA. The band also made an appearance on The Late Show with David Letterman on May 10, 1996, performing the songs "Again" and "We Die Young".
Alice in Chains performed four shows supporting the reunited original Kiss lineup on their 1996–97 Alive/Worldwide Tour, including the final live appearance of Layne Staley on July 3, 1996, in Kansas City, Missouri. Shortly after the show, Staley was found unresponsive after he overdosed on heroin and was taken to the hospital. Although he recovered, the band was forced to go on hiatus.
1996–2004: Hiatus, side projects and death of Layne Staley
Although Alice in Chains never officially disbanded, Staley became a recluse, rarely leaving his Seattle condominium following the death of his ex-fiancée Demri Parrott due to a drug overdose on October 29, 1996. "Drugs worked for me for years," Staley told Rolling Stone in February 1996, "and now they're turning against me ... now I'm walking through hell and this sucks. I didn't want my fans to think that heroin was cool. But then I've had fans come up to me and give me the thumbs up, telling me they're high. That's exactly what I didn't want to happen.."
Unable to continue with new Alice in Chains material, Cantrell released his first solo album, Boggy Depot, in 1998, also featuring Sean Kinney and Mike Inez. Cantrell and Kinney were also featured on Metallica's 1998 album Garage Inc., both were guest musicians in the track "Tuesday's Gone", a cover of Lynyrd Skynyrd.
In October 1998, Staley reunited with Alice in Chains to record two new songs, "Get Born Again" and "Died". Originally intended for Cantrell's second solo album, the songs were reworked by Alice in Chains and were released in the fall of 1999 on the box set, Music Bank. The set contains 48 songs, including rarities, demos, and previously released album tracks and singles. The band also released a 15-track compilation titled Nothing Safe: Best of the Box, serving as a sampler for Music Bank, as well as the band's first compilation album; a live album, simply titled Live, released on December 5, 2000; and a second compilation, titled Greatest Hits in 2001.
In November 1998, Layne Staley recorded a cover of Pink Floyd's "Another Brick in the Wall" with the supergroup Class of '99, formed by guitarist Tom Morello of Rage Against the Machine, bassist Martyn LeNoble, drummer Stephen Perkins, both from Jane's Addiction and Porno for Pyros, and keyboardist Matt Serletic. The song was featured on the soundtrack to the 1998 horror/sci-fi film, The Faculty.
After they toured as part of Cantrell's solo band in 1998, Sean Kinney and Queensrÿche guitarist Chris DeGarmo formed a new band called Spys4Darwin. Mike Inez and Sponge lead vocalist Vin Dombroski joined the supergroup soon after. The band released their first and only album in 2001, a 6-track EP entitled Microfish. In June 2001, Mike Inez joined Zakk Wylde's Black Label Society for the remaining dates of Ozzfest, following the departure of bassist Steve Gibb due to medical reasons. Inez joined the band again for their West Coast and Japanese tour in 2003.
By 2002, Cantrell had finished work on his second solo album, Degradation Trip. Written in 1998, the album's lyrical content focused heavily on what Cantrell regarded as the demise of Alice in Chains, which still remained evident as the album approached its June 2002 release. However, in March that year, Cantrell commented, "We're all still around, so it's possible [Alice in Chains] could all do something someday, and I fully hope someday we will."
Reflecting on the band's hiatus in a 2011 interview, Kinney said that Staley wasn't the only one battling addiction. "He was the focal point, like singers are. So they'd single him out. But the truth was, it was pretty much everybody. I definitely had my hand firmly on the wheel going off the cliff. And the reason we pulled back – you know when you stop when you have two #1 records, it's not really the greatest career move – but we did that because we love each other and we didn't want to die in public. And I know for a fact in my heart that if we were to continue that I wouldn't be on the phone right now talking to you. I wouldn't have made it. I just wouldn't have."
After a decade of battling drug addiction, Layne Staley was found dead in his condominium in Seattle on April 19, 2002. The autopsy and toxicology report on Staley's body revealed that he died from a mixture of heroin and cocaine, known as "speedball". The autopsy concluded that Staley died on April 5, two weeks before his body was found. Cantrell dedicated his 2002 solo album, Degradation Trip, released two months after Staley's death, to his memory. Mike Starr later claimed on Celebrity Rehab that he was the last person to see Staley alive, and admitted to feeling guilty about not calling 911 after Staley had warned him against it. "I wish I hadn't been high on benzodiazepine [that night], I wouldn't have just walked out the door," Starr said.
Following Staley's death, Mike Inez joined Heart and toured and recorded with the band from 2002 through 2006. Jerry Cantrell collaborated with several artists such as Heart, Ozzy Osbourne, and Damageplan. In 2004, Cantrell formed the band Cardboard Vampyres along with The Cult guitarist Billy Duffy, Mötley Crüe and Ratt vocalist John Corabi, The Cult bassist Chris Wyse and drummer Josh Howser.
On October 22, 2004, Sony BMG terminated their contract with Alice in Chains, 15 years after the band signed with the label, in 1989.
2005–2008: Reunion shows and reformation
In 2005, Sean Kinney came up with the idea of doing a benefit concert for the victims of the tsunami disaster that struck South Asia in 2004. Kinney made calls to his former bandmates, as well as friends in the music community, such as former Alice in Chains manager Susan Silver. Kinney was surprised by the enthusiastic response to his idea. On February 18, 2005, Jerry Cantrell, Mike Inez, and Sean Kinney reunited to perform for the first time in nine years at K-Rock Tsunami Continued Care Relief Concert in Seattle. The band featured Damageplan vocalist Pat Lachman, as well as other special guests including Maynard James Keenan of Tool and Ann Wilson of Heart. A few months after that experience, the band called Susan Silver and Cantrell's manager Bill Siddons and said they wanted to tour as Alice in Chains again.
Alice in Chains was approached by the producers of the CBS reality show Rock Star about being featured on its second season, but the band turned the offer down. In the show, aspiring singers competed to become the lead vocalist of a featured group.
On March 10, 2006, the surviving members performed at VH1's Decades Rock Live concert, honoring fellow Seattle musicians Ann and Nancy Wilson of Heart. They played "Would?" with vocalist Phil Anselmo of Pantera and Down and bass player Duff McKagan of Guns N' Roses and Velvet Revolver, and at the end of the performance Cantrell dedicated the show to Layne Staley and the late Pantera and Damageplan guitarist Dimebag Darrell. They also played "Rooster" with Comes with the Fall vocalist William DuVall and Ann Wilson. The band followed the concert with a short United States club tour named "Finish What We Started", several festival dates in Europe, and a brief tour in Japan. Duff McKagan again joined the band for the reunion tour, playing rhythm guitar on selected songs. During the tour, the band played a 5-minute video tribute to Staley during the changeover from the electric to acoustic set.
To coincide with the band's reunion, Sony Music released the long-delayed third Alice in Chains compilation, The Essential Alice in Chains, a double album that includes 28 songs.
Jerry Cantrell met William DuVall in Los Angeles in 2000 through a mutual acquaintance who introduced Cantrell to Comes with the Fall's first album. Cantrell started hanging out with the band and occasionally joined them onstage. Between 2001 and 2002, Comes with the Fall was both the opening act on Cantrell's tour for his second solo album, Degradation Trip, and also his backing band, with DuVall singing Staley's parts at the concerts. DuVall joined Alice in Chains as lead singer during the band's reunion concerts in 2006, and made his first public performance with the band at VH1's Decades Rock Live concert. According to Cantrell, it only took one audition for DuVall to get the gig. For his first rehearsal with the band, DuVall sang "Love, Hate, Love". After they finished, Sean Kinney looked at his bandmates and said, "I think the search is pretty much over." According to Mike Inez, DuVall didn't try to emulate Staley, and that's what drew them to him.
Cantrell revealed that before he suggested DuVall for the band, Sean Kinney and Mike Inez invited Sponge and Spys4Darwin lead vocalist Vin Dombroski to jam with the band in their rehearsal space. Dombroski jammed with them to a couple of songs but they did not feel he was right for the band. According to Cantrell, Stone Temple Pilots and Velvet Revolver lead singer Scott Weiland was also interested in joining the band.
Cantrell explained the reunion saying, "We want to celebrate what we did and the memory of our friend. We have played with some [singers] who can actually bring it and add their own thing to it without being a Layne clone. We're not interested in stepping on [Staley's] rich legacy. It's a tough thing to go through. Do you take the Led Zeppelin approach and never play again, because the guy was that important? That's the approach we've taken for a lot of years. Or, do you give it a shot, try something? We're willing to take a chance on it. It's completely a reunion because the three of us who're left are back together. But it's not about separating and forgetting — it's about remembering and moving on." Before the tour, Kinney mentioned in an interview that he would be interested in writing new material, but not as Alice in Chains.
During the VH1 Rock Honors concert honoring Heart on May 12, 2007, Alice in Chains performed Heart's "Barracuda" fronted by country singer Gretchen Wilson. Heart's guitarist Nancy Wilson also joined them onstage.
Alice in Chains joined Velvet Revolver for a run of U.S. and Canadian gigs from August through October 2007. During that tour, the band also performed four special acoustic-only shows, named as "The Acoustic Hour". The acoustic performance at The Rave/Eagles Club in Milwaukee, Wisconsin on August 31, 2007, was recorded for an upcoming live album.
On November 2, 2007, Alice in Chains performed a four-song set at Benaroya Hall in Seattle for Matt Messina and the Symphony Guild's 10th anniversary benefit concert for the Seattle Children's Hospital & Regional Medical Center. In addition to the band's original material, they also played a cover of Led Zeppelin's "Kashmir" while backed by over 200 musicians, including the Northwest Symphony Orchestra and the Northwest Girlchoir.
Sean Kinney said about the band's reunion: "I never called Jerry; he never called me, and said, 'Hey, let's get the band back together,' you know? We had been taking every step extremely cautious and slow, and just doing whatever feels right: If it's genuine and we're doing it for genuine reasons and we're all okay with it then we take a little step. None of us is broke. Nobody needs to be a rock dork, and you know, stroke their ego. I mean, we don't really operate like that. So as long as it felt good and from the right place and it's about making music and carrying on…."
About the pressure being put on DuVall for replacing Staley as lead vocalist, Cantrell said, "To put all that weight on Will's shoulders is unfair. We're just figuring out how we work as a team. Although the band has changed, we've lost Layne, we've added Will, and there was no master plan. Playing again in 2005 felt right, so we did the next thing and toured. We did it step by step. It's more than just making music, and it always has been. We've been friends a long time. We've been more of a family than most, and it had to be okay from here," Cantrell said pointing to his heart.
Former The Doors manager Bill Siddons and his management company, Core Entertainment, co-managed Alice in Chains with original manager Susan Silver from 2005 to 2007.
The band started writing and demoing songs for a new album with DuVall in April 2007. But the band did not show further signs of progress until October 2008, when they announced that they had begun recording with producer Nick Raskulinecz in the studio.
2008–2011: Black Gives Way to Blue and death of Mike Starr
Blabbermouth.net reported on September 5, 2008, that Alice in Chains would enter the studio that October to begin recording a new album for a summer 2009 release. On September 14, 2008, Alice in Chains performed at halftime during the Seattle Seahawks vs San Francisco 49ers game at the CenturyLink Field (then-named Qwest Field) in Seattle. The 12-minute performance for a crowd of 67,000 people featured a cover of Led Zeppelin's "Kashmir" accompanied by the Northwest Symphony Orchestra.
In October 2008, Alice in Chains began recording its fourth studio album at the Foo Fighters' Studio 606 in Los Angeles with producer Nick Raskulinecz. The band did not have a record label at the time and the album was funded by Jerry Cantrell and Sean Kinney. At the Revolver Golden God Awards, Cantrell said that the group had finished recording on March 18, 2009, and were mixing the album for a September release. The recording process was completed on Cantrell's 43rd birthday and also the same day that William DuVall's son was born. In April 2009, it was reported that the new Alice in Chains album would be released by Virgin/EMI, making it the band's first label change in its 20-plus year career. Susan Silver, who started managing Alice in Chains in 1988, now co-manages the band with David Benveniste and his Velvet Hammer firm.
On June 11, 2009, Blabbermouth.net reported that the new album would be titled Black Gives Way to Blue and was officially set to be released on September 29, 2009. The title first appeared on Amazon.com without any prior announcement from the band. In addition, it was announced that Elton John plays piano on the title track, a tribute to Layne Staley written and sung by Cantrell. The album features new vocalist and rhythm guitarist William DuVall sharing vocal duties with lead guitarist/vocalist Jerry Cantrell, who sings lead vocals on most of the songs. DuVall sings lead vocals on the song "Last of My Kind".
On June 30, 2009, the song "A Looking in View" was made available for purchase via iTunes and Amazon, and for a limited time it was available as a free download through the official Alice in Chains website in early July. Although it was not the album's first radio single, Rock stations across the U.S. started playing the song. The music video for "A Looking in View" debuted via the band's official website on July 7, 2009. The song was nominated for a Grammy Award for Best Hard Rock Performance.
"Check My Brain" was released to radio stations as the first official single from the album on August 14, 2009, and was made available for purchase on August 17, 2009. The music video for "Check My Brain" premiered on September 14, 2009. The song was also nominated for a Grammy Award for Best Hard Rock Performance.
To promote the album, the band released an EPK featuring all four of the members being interviewed while the Kiss makeup is being applied on them. An app for iPhone was released on October 27, 2009, featuring songs, music videos, news, photos and networking.
Sean Kinney said about the new album and the fans' mixed reactions about the band moving on after Staley's death: "Look, it's a big move to fucking stand up and move on. Some people, the music connected with them so strongly, their opinions, how they feel about it ... It's amazing that they have such a connection but they seem to act like it happened to them. This happened to us and Layne's family, not them. This is actually our lives. If we're okay with it, why can't you be? This happened to us, this didn't happen to you. But this album isn't about that, it's a bigger universal point. We're all going to fucking die, we're all going to lose somebody, and it fucking hurts. How do you move on? This record is us moving on, and hurting. That, to me, is a victory. I already feel like I've won." "Sometimes people ask us, 'Wouldn't Layne have been pissed off that we did this?' And I tell them it would have been the opposite: he would have been pissed off that it took us so long to do this. We're not doing this for money; there is no money in the music business anymore. Jerry and I funded the whole album, and we spent lots of our own money, because we believe in this. And one of the reasons I'm doing this is so more light is turned on to something where the light was turned off." And Cantrell added: "We've toured around the world, we've lost some friends, we buried a dear friend, and somebody that you just can't fucking replace, and then we've chosen by circumstance to get together again. That turned into 'maybe we can fucking do this.' And that turned into this."
In September 2008, it was announced that Alice in Chains would headline Australia's Soundwave Festival in 2009, alongside Nine Inch Nails and Lamb of God. In February 2009, it was also announced that Alice in Chains would play at the third annual Rock on the Range festival. On August 1, 2009, Alice in Chains performed, along with Mastodon, Avenged Sevenfold, and Glyder, at Marlay Park, Dublin as direct support to Metallica. The band made an appearance on Later... with Jools Holland on November 10, 2009, performing "Lesson Learned", "Black Gives Way to Blue", and "Check My Brain" as the final performance of the episode.
To coincide with the band's European tour, Alice in Chains released its next single, "Your Decision", on November 16, 2009, in the UK and on December 1 in the US. The last single from the album was "Lesson Learned", and it was released to rock radio on June 22, 2010.
Black Gives Way to Blue debuted at No. 5 on the Billboard 200. On May 18, 2010, the album was certified gold by the RIAA for selling over 500,000 copies in the U.S. The singles "Check My Brain" and "Your Decision" reached No. 1 on Billboard's Mainstream Rock Tracks, while "Lesson Learned" reached No. 4. "Check My Brain" was also the band's first #1 song on the Alternative Songs chart, and on the Hot Rock Songs chart, it also reached No. 92 on Billboard's Hot 100, becoming the band's first single to appear on the chart.
Along with Mastodon and Deftones, Alice in Chains toured the United States and Canada in late 2010 on the Blackdiamondskye tour, an amalgam of the three bands' latest album titles (Black Gives Way to Blue, Diamond Eyes, and Crack the Skye).
On March 8, 2011, former Alice in Chains bassist Mike Starr was found dead at his home in Salt Lake City. Police told Reuters they were called to Starr's home at 1:42 pm and found his body; Starr was 44. Reports later surfaced that Starr's roommate had seen him mixing methadone and anxiety medication hours before he was found dead. Later reports indicated Starr's death may have been linked to two different types of antidepressants prescribed to him by his doctor. A public memorial was held for Starr at the Seattle Center's International Fountain on March 20, 2011. A private memorial was also held, which Jerry Cantrell and Sean Kinney attended according to Mike Inez.
2011–2016: The Devil Put Dinosaurs Here
On March 21, 2011, Alice in Chains announced that they were working on a fifth studio album, and both Cantrell and Inez later made statements that they had begun the recording process. The album was expected to be finished by summer of 2012 and released by the end of 2012 or beginning of 2013. While Alice in Chains were writing for the album in 2011, Cantrell underwent surgery on his right shoulder, which delayed recording the new material. In an interview published in May 2012, Cantrell explained, "The thing that set me back is I had some bone spurs [and] cartilage issues in my shoulders. I had the same issue in the other shoulder about six years ago so I've had them both done now. It's a repetitive motion injury from playing." Cantrell could not play guitar for eight months while he was recovering from surgery. While recuperating at home in a sling, Cantrell heard a riff in his head and sang it into his phone. The riff later became the song "Stone".
Alice in Chains played their first concert in nearly 10 months and their first concert after Cantrell's shoulder surgery at the Winstar Casino in Thackerville, Oklahoma on August 13, 2011. The band's only concert in 2012 was a five-song acoustic set on May 31 at the eighth annual MusiCares MAP Fund Benefit Concert honoring Jerry Cantrell.
On December 4, 2012, Cantrell confirmed that the new album had been completed. The first single, "Hollow", debuted online on December 18, available for digital download in January 2013, along with an official music video. On February 13, 2013, Alice in Chains posted on Facebook that their new album title would be an anagram of the letters H V L E N T P S U S D A H I E E O E D T I U R R. The next day they announced that the album would be called The Devil Put Dinosaurs Here, which was released on May 28, 2013, and debuted at No. 2 on the Billboard 200.
To promote the album, Alice in Chains teamed up with Funny or Die for an 11-minute mockumentary titled AIC 23, in which Film Studies professor Alan Poole McLard (played by W. Earl Brown) attempts to make a documentary on Alice in Chains without any help from the actual band, interviewing other musicians instead. Among them are country singer Donnie 'Skeeter' Dollarhide Jr. (played by Jerry Cantrell), Reggae singer Nesta Cleveland (played by William DuVall), Black Metal musician Unta Gleeben Glabben Globben Globin (played by Mike Inez) and the hipster Stanley Eisen (played by Sean Kinney). The video was released on April 3, 2013, and also features cameos by Ann and Nancy Wilson from Heart, Mike McCready from Pearl Jam, Kim Thayil from Soundgarden, Duff McKagan from Guns N' Roses, Brent Hinds and Bill Kelliher from Mastodon, and Lars Ulrich and Robert Trujillo from Metallica.
In June 2013, the band released a pinball game app for iOS as part of Pinball Rocks HD compilation, featuring the single "Hollow", the band's logo and the album artwork, as well as references to the band's previous albums such as Jar of Flies and the self-titled record.
The band released videos for the songs "Hollow", "Stone", "Voices", the title track and "Phantom Limb". "Hollow" and "Stone" reached No. 1 on Billboard's Mainstream Rock Tracks, while "Voices" reached No. 3, and each one of the three songs stayed on the chart for 20 weeks. The Devil Put Dinosaurs Here was nominated for a Grammy Award for Best Engineered Album, Non-Classical in 2014.
Alice in Chains toured extensively in the U.S., Canada, and Europe in 2013 and 2014. In May 2013, the band co-headlined the annual MMRBQ festival with Soundgarden in Camden, New Jersey. Asked in September 2013 if Alice in Chains would make another album, Cantrell replied, "It'll be a while. It's [been] four years since we put the last one out, but at least it's not the gap that was between the last one, so that's about right - about three to four years."
On January 18, 2015, Alice in Chains performed in the halftime show of the NFC Championship Game between the Seattle Seahawks and the Green Bay Packers at CenturyLink Field in Seattle. Cantrell is a lifelong Seahawks fan and often attends their games. In August 2015, Bassist Mike Inez said that the band had been "throwing around riffs for a new record" and "taking it nice and slow". The band toured in the summer of 2015 and the summer of 2016, including select shows opening for Guns N' Roses as part of the Not in This Lifetime... Tour. The band finished their 2016 tour with a concert at the Grand Sierra Resort and Casino in Reno, Nevada on October 8, 2016.
In November 2016, Alice in Chains released a cover of the Rush song "Tears", which was included in the 40th anniversary release of the album 2112. The home video Live Facelift was released on vinyl for the first time on November 25, 2016, as part of Record Store Day's Black Friday event. The album features six songs and only 5000 copies were issued.
To celebrate the tenth anniversary of Record Store Day, on April 22, 2017, Legacy Recordings released "Get Born Again"/"What the Hell Have I", a special 45 RPM double 7" single featuring four tracks remastered and available on vinyl for the first time, "What the Hell Have I", "A Little Bitter", "Get Born Again" and "Died".
2017–present: Rainier Fog
In January 2017, Mike Inez stated in an interview that the band had begun work on a new album. In June 2017, it was reported that the band would return to Studio X (formerly Bad Animals Studios) in Seattle to record a new album later that month, for a tentative early 2018 release. The sessions were helmed by Nick Raskulinecz, who produced the band's last two albums. Studio X was the studio where Alice in Chains recorded its 1995 self-titled album. According to Inez, the band was not signed to a label, having completed its previous two-record contract with the Universal Music Group. "This [upcoming album], we're not sure where it's gonna land ... I mean, we financed ['Black Gives Way To Blue'] on our own too, so we're not too worried about that stuff. We've just gotta get it out to ... a significant label [with worldwide distribution]."
The band started recording their sixth studio album on June 12, 2017. On January 11, 2018, producer Nick Raskulinecz announced via Instagram that the album was nearly finished and that there was only one more day left of recording. During an interview with Guitar World published on April 11, 2018, Jerry Cantrell said that the album was recorded at four studios. After recording at Studio X in Seattle, the band went to Nashville to record vocals and lead guitars at Nick Raskulinecz's home studio. But Cantrell had to take an unexpected break from work for a couple of weeks after getting sick on a trip to Cabo for Sammy Hagar's birthday. Cantrell had the band's engineer, Paul Figueroa, come in to his house and record a lot of his vocals and solos there. The band finished recording the album at the Henson Recording Studios in Los Angeles. Cantrell also said he expects the album to be released "probably sometime this summer."
At the press room of the Rock and Roll Hall of Fame Induction Ceremony on April 14, 2018, Cantrell revealed that Alice in Chains had just signed with BMG, and that they had finished mixing their new album.
Alice in Chains did not perform live in 2017. The band performed their first concert since October 2016 at the House of Blues in Boston on April 28, 2018. In May 2018, Alice in Chains headlined the festivals Carolina Rebellion, Lunatic Luau, Pointfest, Northern Invasion, the WMMR BBQ festival in Philadelphia, and the Rock on the Range festival in Columbus, Ohio on May 18, 2018, in which they paid tribute to Chris Cornell on the first anniversary of his death covering two Soundgarden songs to close their set, "Hunted Down" and "Boot Camp", respectively. At the end of the show, the lights on stage spelled out "CC" for Chris Cornell and "SG" for Soundgarden as feedback rang out. The band started their European tour in June 2018, and headlined the Tons Of Rock Festival in Norway alongside Ozzy Osbourne and Helloween. Alice in Chains are also scheduled to headline KISW's Pain in the Grass festival in August 2018.
The band released a new single, "The One You Know", via Spotify, Amazon and iTunes on May 3, 2018. A music video directed by Adam Mason was released on YouTube the same day. "The One You Know" peaked at No. 9 on Billboard's Mainstream Rock chart.
During an interview with Eddie Trunk on Trunk Nation on May 7, 2018, Jerry Cantrell said that the new album would be released at the end of August 2018. The band also revealed that they talked to director Adam Mason, who is making a dark sci-film, about doing two separate pieces of art and maybe molding them together, and that the music video for "The One You Know" is the first chapter of molding Mason's film and the band's music videos together.
The second single, "So Far Under", was released on Alice in Chains' YouTube channel and on streaming platforms on June 27, 2018. It was also announced that the album would be titled Rainier Fog, with the release date scheduled for August 24, 2018. The album's artwork and the track listing were also revealed on the same day. Jerry Cantrell told Rolling Stone that the title Rainier Fog was inspired by the Mount Rainier in Seattle, and the title track is a tribute to the Seattle music scene. "This song is a little homage to all of that: where we come from, who we are, all of the triumphs, all of the tragedies, lives lived."
The album's third single, "Never Fade", was released on August 10, 2018, through digital and streaming services. The song is a tribute dedicated to frontman William DuVall's grandmother, Chris Cornell, and Alice in Chains' original singer Layne Staley. "Never Fade" peaked at No. 10 on Billboard's Mainstream Rock chart. A music video directed by Adam Mason was released on November 1, 2018, and continued the storyline from the music video of "The One You Know".
In June 2018, William DuVall said in an interview with Swedish website Rocksverige that the music video for "The One You Know" is the first chapter of what the band is hoping will be visuals for all ten songs from the album Rainier Fog, and in addition to that, will be a companion piece to the film that director Adam Mason was shooting.
On August 20, 2018, the baseball team Seattle Mariners hosted a special "Alice in Chains Night" at the Safeco Field in Seattle to promote Rainier Fog, with the team offering the fans a package that included a Safeco Field terrace club ticket, access to a pre-game listening party of the album, an Alice in Chains T-shirt and a Rainier Fog CD. Jerry Cantrell also threw out the ceremonial first pitch and delivered a strike before the Seattle Mariners vs. Houston Astros game.
To mark the launch of the album, on August 21, 2018, Alice in Chains performed an acoustic set at the top of Seattle's Space Needle and debuted the song "Fly". Alice in Chains were the first band to perform on the Space Needle's new "Loupe" glass floor, the world's first and only revolving glass floor 500 feet high. The concert was exclusive for an audience of SiriusXM subscribers. SiriusXM broadcast the concert on their channel Lithium on August 31, 2018.
On August 22, 2018, Alice in Chains sent fans on a Scavenger hunt to access a secret gig that the band would be performing in Seattle on August 24. Ten signed CD copies of Rainier Fog were hidden around the city as a ticket into the show, and the band asked the fans to keep an eye on their Instagram story for details on the 10 hidden locations. Once all 10 albums were found, the band revealed that the secret gig would be at the rock club The Crocodile, with limited tickets available with the purchase of their album at a pop-up event at the same venue the next day. Preview clips of each of the album tracks were posted on the band's Instagram.
The band also commemorated the release of the album with a pop-up museum installation at The Crocodile in Seattle on August 23 and 24. The museum featured rare Alice in Chains photos, limited-edition merchandise and memorabilia that showcased the band's 30+ year career.
Rainier Fog debuted at No. 12 on the Billboard 200 chart, selling 31,000 copies (29,000 in traditional album sales), in its first week of release. The album also debuted at No. 1 on Billboard's Top Rock Albums, Alternative Albums and Hard Rock Albums charts, and at No. 3 on the Vinyl Albums chart. Rainier Fog became Alice in Chains' first top 10 in the UK, peaking at No. 9, and topping UK's Rock & Metal Albums chart. The album has been nominated for a Grammy Award for Best Rock Album.
On December 13, 2018, the teaser of the film Black Antenna featuring the song "Rainier Fog" was released on Alice in Chains' official YouTube channel, with drummer Sean Kinney stating; "We've always toyed with the idea of creating videos for every song on one of our albums. Not only did we do that for Rainier Fog, it got totally out of hand and we made a whole goddamn movie. Everything that will be seen in the videos will be footage from Black Antenna to preface the complete film's release." "Rainier Fog" was released as a single on February 26, 2019. The official trailer for Black Antenna was released on Alice In Chains' YouTube Channel on February 28, 2019. Besides a 90-minute film, a 10-part web-series focused on each track from the album will also be released. Episodes 1 and 2, "The One You Know" and "Rainier Fog", respectively, were released on March 7, 2019. The tenth and last episode, "All I Am", was released on July 17, 2019. The official music video for "Rainier Fog" was released on YouTube on May 15, 2019, and was co-directed by Alice in Chains and Peter Darley Miller, who also directed the band's 2013 mockumentary, AIC 23.
On December 1, 2020, Alice in Chains was honored with the Founders Award from Seattle's Museum of Pop Culture. The benefit concert featured tribute performances from artists such as Ann Wilson, Korn, Metallica, Fishbone, Dallas Green, Billy Corgan, Tad Doyle, members of Soundgarden and Pearl Jam, among others. The event was made available for streaming for free and raised more than $600,000 for the museum in its first night. A compilation featuring highlights from the tribute was made available for streaming on Amazon Music.
Musical style
Although Alice in Chains has been labeled grunge by the mainstream media, Jerry Cantrell identifies the band as primarily heavy metal. He told Guitar World in 1996, "We're a lot of different things ... I don't quite know what the mixture is, but there's definitely metal, blues, rock and roll, maybe a touch of punk. The metal part will never leave, and I never want it to." The Edmonton Journal has stated, "Living and playing in Seattle might have got them the grunge tag, but they've always pretty much been a classic metal band to the core."
Over the course of their career, the band's sound has also been described as alternative metal, sludge metal, doom metal, drone rock, hard rock, and alternative rock. Regarding the band's constant categorization by the media, Cantrell stated "When we first came out we were metal. Then we started being called alternative metal. Then grunge came out and then we were hard rock. And now, since we've started doing this again I've seen us listed as: hard rock, alternative, alternative metal and just straight metal. I walked into an HMV the other day to check out the placement and see what's on and they've got us relegated back into the metal section. Right back where we started!" Drummer Sean Kinney rejects the grunge label, stating in a 2013 interview "I mean, before we first came out there was no grunge, they hadn't invented that word. Before they invented the word grunge we were alternative rock and alternative metal and metal and rock, and we didn't give a shit whatever, we were a rock and roll band!." According to Mike Inez, they were always the metal stepchildren of the Seattle scene.
The band are influenced to a great extent by English metal music; in 2018, Jerry Cantrell proclaimed Black Sabbath guitarist Tony Iommi as "one of his biggest" inspirations, whilst Layne Staley named his "first influences" as Black Sabbath and Deep Purple. Cantrell adjudged English rock singer Elton John as "the artist that made me want to be a musician." In addition, members of Alice in Chains have cited artists including AC/DC, Accept, Aerosmith, The Beatles, Black Flag, David Bowie, John Coltrane, Miles Davis, Dio, Funkadelic, Hanoi Rocks, Heart, Jimi Hendrix, Iron Maiden, King's X, Kiss, Led Zeppelin, Metallica, Motörhead, Mudhoney, Pink Floyd, Queensrÿche, the Rolling Stones, Rush, Scorpions, Soundgarden, The Stooges, Television, Thin Lizzy, U2, UFO, Van Halen, The Velvet Underground, Hank Williams, and ZZ Top as influential or inspirational.
Jerry Cantrell's guitar style combines "pummeling riffs and expansive guitar textures" to create "slow, brooding minor-key grinds". He is also recognized for his natural ability to blend acoustic and electric guitars. While down-tuned, distorted guitars mixed with Staley's distinctive "snarl-to-a-scream" vocals appealed to heavy metal fans, the band also had "a sense of melody that was undeniable," which introduced Alice in Chains to a much wider audience outside of the heavy metal underground.
According to Stephen Thomas Erlewine of AllMusic, Alice in Chains' sound has a "Black Sabbath-style riffing and an unconventional vocal style." The band has been described by Erlewine as "hard enough for metal fans, yet their dark subject matter and punky attack placed them among the front ranks of the Seattle-based grunge bands." Three of the band's releases feature acoustic music, and while the band initially kept these releases separate, Alice in Chains' self-titled album combined the styles to form "a bleak, nihilistic sound that balanced grinding hard rock with subtly textured acoustic numbers."
Alice in Chains is also noted for the unique vocal harmonies of Staley (or DuVall) and Cantrell, which included overlapping passages, dual lead vocals, and trademark harmonies typically separated by a major third. Cantrell said it was Staley who gave him the self-assurance to sing his own songs. Alyssa Burrows said the band's distinctive sound "came from Staley's vocal style and his lyrics dealing with personal struggles and addiction." Staley's songs were often considered "dark", with themes such as drug abuse, depression, and suicide, while Cantrell's lyrics often dealt with personal relationships.
Legacy
Alice in Chains has sold over 14 million records in the United States, and over 30 million records worldwide, released two number-one albums, had 23 top 40 singles, and has received eleven Grammy Award nominations. The band was ranked number 34 on VH1's 100 Greatest Artists of Hard Rock. Alice in Chains was named 15th greatest live band by Hit Parader, with Staley placing as 27th-greatest heavy metal vocalist of all time. The band's second album, Dirt, was named 5th-best album in the last two decades by Close-Up magazine in 2008.
In October 2008, Guitar World ranked Cantrell's solo in "Man in the Box" at No. 77 on their list of "100 Greatest Guitar Solos". In August 2009, Alice in Chains won the Kerrang! Icon Award.
In November 2011, Jar of Flies was ranked number four on Guitar World magazine's top ten list of guitar albums of 1994. It was also featured in Guitar World magazine's "Superunknown: 50 Iconic Albums That Defined 1994" list, and in May 2014, the EP was placed at number five on Loudwire's "10 Best Hard Rock Albums of 1994" list.
Pantera and Damageplan guitarist Dimebag Darrell had expressed his admiration for Cantrell's guitar work in an interview for Guitar International in 1995, saying that "the layering and the honest feel that Jerry Cantrell gets on [Alice in Chains' Dirt] record is worth a lot more than someone who plays five million notes."
Street musician Wesley Willis wrote a song about the band entitled "Alice in Chains", featured on his 1996 album Feel The Power.
Billy Corgan revealed that the song "Bleeding The Orchid" from The Smashing Pumpkins' 2007 album Zeitgeist has a bit of an homage to Alice in Chains in the harmonies and was indirectly inspired by the death of Staley.
Elton John stated that he is a fan of Alice in Chains and a big admirer of Cantrell. According to Jon Wiederhorn of MTV, Godsmack has "sonically followed Alice in Chains' lead while adding their own distinctive edge." Godsmack singer and founder Sully Erna has also cited Staley as his primary influence. Godsmack was named after the Alice in Chains song "God Smack" from the album Dirt. Staind has covered Alice in Chains' song "Nutshell" live, which appears on the compilation The Singles: 1996-2006, and also wrote a song entitled "Layne", dedicated to Staley, on the album 14 Shades of Grey. Three Days Grace also performs a cover of "Rooster", which can be seen on the DVD Live at the Palace. Other bands that have been influenced by Alice in Chains include 10 Years, Avenged Sevenfold, Breaking Benjamin, Creed, Dallas Green, Days of the New, Hoobastank, Incubus, Korn, Manic Street Preachers, Mudvayne, Nickelback, A Pale Horse Named Death, Puddle of Mudd, Queens of the Stone Age, Rains, Seether, Smile Empty Soul, Stone Sour, Tantric, Taproot, and Theory of a Deadman. Metallica said they have always wanted to tour with the band, citing Alice in Chains as a major inspiration for their 2008 release, Death Magnetic.
Alice in Chains has also had a significant influence on modern heavy metal. Their songs were covered by various metal bands such as In Flames, Opeth, Dream Theater, Secrets of the Moon, Suicide Silence, 36 Crazyfists, Cane Hill, Ektomorf, Dritt Skitt, Grave and Thou, who described their 2018 EP Rhea Sylvia as "a melodic grunge, Alice in Chains homage." In 2009, Anders Fridén of Swedish melodic death metal band In Flames cited Layne Staley as an inspiration for his vocals on the band's later albums. In addition to fellow musicians, the band has also received praise from critics, with Steve Huey of AllMusic calling them "one of the best metal bands of the '90s" upon reviewing the 1999 compilation Nothing Safe.
In 2009, the Vitamin String Quartet released the album The String Quartet Tribute to Alice in Chains, featuring instrumental versions on viola, violin and cello of 12 of the band's biggest hits.
In August 2015, journalist David de Sola published the biography Alice in Chains: The Untold Story. An updated version covering the period from 2014 to 2017 was published in November 2018. Neither the band nor their management had any involvement with the book. Sources tied directly to the band were interviewed instead.
In June 2017, Metal Injection ranked Alice in Chains at number 1 on their list of "10 Heaviest Grunge Bands". Ozzy Osbourne ranked Facelift among his list of "10 Favorite Metal Albums".
The claymation dolls of the band members used in the music video for "I Stay Away" are on display at the Rock and Roll Hall of Fame museum in Cleveland, Ohio.
Band members
Current members
Jerry Cantrell – lead guitar, lead vocals (1987–2002, 2005–present), rhythm guitar (1987–2002, 2005–2006)
Sean Kinney – drums, backing vocals (1987–2002, 2005–present)
Mike Inez – bass, backing vocals (1993–2002, 2005–present)
William DuVall – lead vocals, rhythm guitar (2006–present)
Former members
Layne Staley – lead vocals (1987–2002), occasional rhythm guitar (1992–2002; died 2002)
Mike Starr – bass, backing vocals (1987–1993; died 2011)
Touring members
Maynard James Keenan – lead vocals (2005)
Timeline
Discography
Studio albums
Facelift (1990)
Dirt (1992)
Alice in Chains (1995)
Black Gives Way to Blue (2009)
The Devil Put Dinosaurs Here (2013)
Rainier Fog (2018)
Awards and nominations
References
External links
VH1 Classic: Alice In Chains
1987 establishments in Washington (state)
2002 disestablishments in Washington (state)
2005 establishments in Washington (state)
American alternative metal musical groups
Columbia Records artists
EMI Records artists
American grunge groups
Heavy metal musical groups from Washington (state)
Kerrang! Awards winners
Musical groups established in 1987
Musical groups disestablished in 2002
Musical groups reestablished in 2005
Musical groups from Seattle
Musical quartets
Virgin Records artists
Capitol Records artists | true | [
"Kiss My Grass: A Hillbilly Tribute to Kiss is the third album by American band Hayseed Dixie, released in 2003 (see 2003 in music). The album consists entirely of covers of songs by the hard rock band Kiss performed in the bluegrass style.\n\nTrack listing\n\"Calling Dr. Love\" (Gene Simmons) – 2:54\n\"Detroit Rock City\" (Bob Ezrin, Paul Stanley) – 4:10\n\"Christine Sixteen\" (Simmons) – 3:10\n\"Cold Gin\" (Ace Frehley) – 3:53\n\"Let's Put the X in Sex\" (Desmond Child, Stanley) – 3:22\n\"Love Gun\" (Stanley) – 3:25\n\"Lick It Up\" (Vinnie Vincent, Stanley) – 3:16\n\"I Love It Loud\" (Vincent, Simmons) – 3:34\n\"Rock and Roll All Nite\" (Simmons, Stanley) – 2:49\n\"Heaven's on Fire\" (Child, Stanley) – 3:58\n\nCharts\nAlbum - Billboard (United States)\n\nReferences \n\nDualtone Records albums\nHayseed Dixie albums\n2003 albums\nKiss (band) tribute albums",
"The Stanley Motor Carriage Company was an American manufacturer of steam cars; it operated from 1902 to 1924. The cars made by the company were colloquially called Stanley Steamers, although several different models were produced.\n\nEarly history\n\nTwins Francis E. Stanley (1849–1918) and Freelan O. Stanley (1849–1940) founded the company, after selling their photographic dry plate business to Eastman Kodak. They made their first car in 1897. During 1898 and 1899, they produced and sold over 200 cars, more than any other U.S. maker. In 1899, Freelan and his wife Flora drove one of their cars to the top of Mount Washington in New Hampshire, the highest peak in the northeastern United States. The ascent took more than two hours and was notable as being the first time a car had climbed the long Mount Washington Carriage Road; the descent was accomplished by putting the engine in low gear and braking extensively. The Stanleys later sold the rights to this early design to Locomobile, and in 1902 they formed their own Stanley Motor Carriage Company.\n\nSpecifications and design \n\nEarly Stanley cars had light wooden bodies mounted on tubular steel frames with full-elliptic springs. Steam was generated in a vertical fire-tube boiler, mounted beneath the seat, with a vaporizing gasoline (later, kerosene) burner underneath. The boiler was reinforced by several layers of piano wire wound around it, which gave it a strong but relatively light-weight shell. In early models, the vertical fire-tubes were made of copper, and were expanded into holes in the upper and lower crown sheets. In later models, the installation of a condenser caused oil-fouling in the expansion joints, and welded steel fire-tubes had to be used. The boilers were reasonably safe, since they were fitted with safety valves. Even if these failed, any dangerous over pressure would rupture one of the joints long before the boiler shell itself could burst. The resulting leakage would relieve the boiler pressure and douse the burner, with very little risk to the passenger. There is not a single documented incident of a Stanley boiler's exploding.\n\nThe engine had two double-acting cylinders, side-by-side and equipped with slide-valves, and it was a simple-expansion type. Drive was transmitted directly by the crankshaft to a rear-mounted differential using a chain. Owners often modified their Locomobiles by adding third-party accessories, including improved lubricators, condensers, and devices which eased the laborious starting procedure.\n\nTo overcome patent difficulties with the design they had sold to Locomobile, the Stanley brothers developed a new model with twin-cylinder engines geared directly to the rear axle. Later models had aluminium coachwork that resembled the internal combustion cars of the time, but they retained steam-car features by having no transmission, clutch, or driveshaft. They also had a fully sprung tubular steel frame.\n\nWhen they later moved the steam boiler to the front of the vehicle, the owners dubbed it the \"coffin nose.\" The compact engine ran at considerable steam pressure, with the boiler described in 1912 at having the safety valve set at , with the burner set to automatically cut back when pressure reached . The twin-cylinder steam engines were at that time 10 horsepower, with bore and stroke, and with bore and stroke, and made extensive use of ball bearings. In order to improve range, condensers were added from 1915.\n\nA Stanley Steamer set the world record for the fastest mile in an automobile (28.2 seconds) in 1906. This record () was not broken by any automobile until 1911, although Glen Curtiss beat the record in 1907 with a V-8-powered motorcycle at . The record for steam-powered automobiles was not broken until 2009.\n\nProduction rose to 500 cars in 1917.\n\nThe Stanley Steamer was sometimes nicknamed \"The Flying Teapot\". At least one Stanley Steamer found its way to Castle Hill, New South Wales, Australia where it was driven in the late 1920s.\n\nObsolescence \nDuring the mid to late 1910s, the fuel efficiency and power delivery of internal combustion engines improved dramatically and using an electric starter instead of the crank, which had been notorious for injuring its operators, led to the rise of the gasoline-powered automobile, which also was much cheaper. The Stanley company produced a series of advertising campaigns trying to recover the car-buying public away from the \"internal explosion engine,\" but it was unsuccessful. Their advertising slogan was, \"Power – Correctly Generated, Correctly Controlled, Correctly Applied to the Rear Axle.\" These were early examples of the fear, uncertainty and doubt advertising campaign, since their aim was not to convince buyers of the advantages of the Stanley Steamer but to suggest that internal combustion automobiles could explode.\n\nSale and closure \nFrancis died in 1918, when he steered his car off the road, into a woodpile, while attempting to avoid farm wagons travelling side by side. After his death, Freelan sold his interests to Prescott Warren. The company suffered a period of decline and technological stagnation. Production specifications show that no model with a power output of more than was produced after 1918. Better cars were now available at much lower cost. For example, a 1924 Stanley 740D sedan cost $3,950, compared with less than $500 for a Ford Model T. The widespread use of electric starters in internal combustion cars, beginning in 1912, eroded the remaining technological advantages of the steam car.\n\nThe smaller scale of merchandising, a lack of effective advertising, and the general desire of motorists for higher speeds and faster starting than offered by Stanley vehicles were the primary causes of the company's demise. The factory closed permanently in 1924.\n\nIn popular culture \nAn entire song titled \"The Stanley Steamer\" appears in the 1948 film Summer Holiday starring Mickey Rooney and Gloria De Haven. The number, written by Harry Warren with lyrics by Ralph Blane, features an extended musical sequence with what appears to be a fairly early yellow 10 HP model.\n\nBugs Bunny mentions a Stanley steamer in the cartoon short Robot Rabbit, released in 1953.\n\nAnother Stanley Steamer appears in the 1965 film The Great Race starring Jack Lemmon, Tony Curtis and Natalie Wood as the driver of the car.\n\nA Stanley Steamer appears in the 2003 film, Seabiscuit.\n\nStanley from Cars and Cars 2 who appeared in Time Travel Mater is a Stanley Steamer. He was the husband of Lizzie. There is a statue of him that is seen in front of the fire station in Radiator Springs where Red lives. He was the town's founder.\n\nGallery\n\nSee also\n\nAmzi L. Barber\nFrancis Edgar StanleyFreelan Oscar Stanley \nHistory of steam road vehicles\nJohn Brisben Walker\nLocomobile Company of America\nMarshall Steam Museum\nMobile Company of America\nSteam car\nSteam engine\nTimeline of steam power\n\nReferences\n\nExternal links\n\n Stanley Steamer – Technical Information\n Stanley Steamers in the Marshall Steam Museum\n Stanley Register Online – Worldwide register of existing Stanley steam cars\nSteam cars\nDefunct motor vehicle manufacturers of the United States\nBrass Era vehicles\nVintage vehicles\nAmerican companies established in 1902\nVehicle manufacturing companies established in 1902\nVehicle manufacturing companies disestablished in 1924\nDefunct manufacturing companies based in Massachusetts"
]
|
[
"Stephen Roche",
"Professional career"
]
| C_4dbb3522d6d446418c233d5e3d4d4a90_1 | When did his professional career start? | 1 | When did Stephen Roche's professional career start? | Stephen Roche | Roche scored his first professional victory by beating Bernard Hinault in the Tour of Corsica. Less than a month later he won Paris-Nice (where he became the first, and still the only, new pro to win Paris-Nice) despite illness following the descent from Mont Ventoux and finished his debut season with victories in the Tour de Corse, Circuit d'Indre-et-Loire and Etoile des Espoirs races with a second place behind Hinault in the Grand Prix des Nations. In total, his debut yielded 10 victories. In 1982 his best performance was second in the Amstel Gold Race behind Jan Raas, but his rise continued in 1983 with victories in the Tour de Romandie, Grand Prix de Wallonie, Etoile des Espoirs and Paris-Bourges. In the 1983 Tour de France, Roche finished 13th and he finished the 1983 season with a bronze medal in the world cycling championship at Alterheim in Zurich. In 1984, riding for La Redoute following contractual wrangles with Peugeot (the settlement of which led Roche to sport Peugeot shorts for two years before winning a court action against Velo Club de Paris Peugeot) he repeated his Tour de Romandie win, won Nice-Alassio, Subida a Arrate and was second in Paris-Nice. He finished 25th in that year's Tour de France. In 1985, Roche won the Criterium International, the Route du Sud and came second in Paris-Nice and third in Liege-Bastogne-Liege. In the 1985 Tour de France Roche won stage 18 to the Aubisque and finished on the podium in 3rd position, 4 minutes and 29 seconds behind winner Bernard Hinault. CANNOTANSWER | Roche scored his first professional victory by beating Bernard Hinault in the Tour of Corsica. | Stephen Roche (; born 28 November 1959) is an Irish former professional road racing cyclist. In a 13-year professional career, he peaked in 1987, becoming the second of only two cyclists to win the Triple Crown of victories in the Tour de France and the Giro d'Italia general classification, plus the World road race championship, the first was Eddy Merckx. Roche's rise coincided with that of fellow Irishman Sean Kelly.
Although one of the finest cyclists of his generation and admired for his pedalling style, he struggled with knee injuries and never contended in the Grand Tours post-1987. He had 58 professional career wins. All of these wins still stand, despite Roche having been accused by an Italian judge of taking EPO in the later part of his career.
Early life and amateur career
On completion of his apprenticeship as a machinist in a Dublin dairy and following a successful amateur career in Ireland with the "Orwell Wheelers" club coached by Noel O'Neill of Dundrum (which included winning the Irish Junior Championship in 1977 and the Rás Tailteann in 1979), Roche joined the Athletic Club de Boulogne-Billancourt amateur team in Paris to prepare for the 1980 Olympic games in Moscow. Soon after his arrival Roche won the amateur Paris–Roubaix, escaping with Dirk Demol and sprinting to victory on the track at Roubaix. Roche was told by his directeur sportif that if he did not win he "would be sent home to Ireland that day".
He also finished on the podium at the early-season Paris–Ezy road race and finished 14th overall in the Sealink International stage race which was won by Bob Downs. However, a knee injury caused by a poorly fitted shoe plate led to a disappointing ride in Moscow, where he finished 45th. However, on return to France, August to October saw Roche win 19 races. That led to a contract with the Peugeot professional cycling team for 1981.
Professional career
Roche scored his first professional victory by beating Bernard Hinault in the Tour of Corsica. Less than a month later he won Paris–Nice (where he became the first, and still the only, new pro to win Paris–Nice) despite illness following the descent from Mont Ventoux and finished his debut season with victories in the Tour de Corse, Circuit d'Indre-et-Loire and Étoile des Espoirs races with a second place behind Hinault in the Grand Prix des Nations. In total, his debut yielded 10 victories.
In 1982 his best performance was second in the Amstel Gold Race behind Jan Raas, but his rise continued in 1983 with victories in the Tour de Romandie, Grand Prix de Wallonie, Étoile des Espoirs and Paris–Bourges. In the 1983 Tour de France, Roche finished 13th and he finished the 1983 season with a bronze medal in the world cycling championship at Alterheim in Zurich.
In 1984, riding for La Redoute following contractual wrangles with Peugeot (the settlement of which led Roche to sport Peugeot shorts for two years before winning a court action against Vélo Club de Paris Peugeot) he repeated his Tour de Romandie win, won Nice-Alassio, Subida a Arrate and was second in Paris–Nice. He finished 25th in that year's Tour de France.
In 1985, Roche won the Critérium International, the Route du Sud and came second in Paris–Nice and third in Liège–Bastogne–Liège. In the 1985 Tour de France Roche won stage 18 to the Aubisque and finished on the podium in 3rd position, 4 minutes and 29 seconds behind winner Bernard Hinault.
Chronic knee injury
In 1986 at a six-day event with UK professional Tony Doyle at Paris-Bercy, Roche crashed at speed and damaged his right knee. This destroyed his 1986 season at new team with little to show other than second in a stage of the Giro. Roche finished the 1986 Tour de France 48th, 1h 32m behind Greg LeMond, a Tour that Roche described as like "entering a dark tunnel" of pain.
The injury and then associated back problems recurred throughout his career (for example in the 1989 Tour Roche abandoned after banging the problem knee on his handlebars) and a series of operations appeared to only address direct or consequential symptoms of the core injury. Later non-surgical intervention under Dr.Hans-Wilhelm Müller-Wohlfahrt in Munich made some difference but the injury required constant care.
By the end of his career Roche was unable to compete at his best because of back problem which led to a loss of power in the left leg. In retirement he described riding the 1993 Tour de France "just for fun". He finished 13th, riding for Claudio Chiappucci).
1987 Triple Crown
In 1987, Roche had a tremendous season. In the spring, he won the Volta a la Comunitat Valenciana, taking a third victory in the Tour de Romandie and fourth place plus a stage win in Paris–Nice. He also finished second in Liège–Bastogne–Liège, the closest he got to winning a professional 'Monument' Classic. He blamed it on tactical naiveté and "riding like an amateur".
In the Giro d'Italia, Roche took three stage wins (including a team win with in the team time trial) en route to overall victory and became the first Giro victor from outside mainland Europe. Roche's stage wins that year in the Giro were stage 1b, the time trial downhill on the Poggio into San Remo and stage 22, a individual time trial into St. Vincent. Despite his stage wins, the race is remembered for the stage from Lido di Jesolo to Sappada, where Roche, contravening team orders, broke away alone early and despite being caught late in the race, had the strength to go with the counterattack and take the pink jersey from his teammate Roberto Visentini, who had been previously leading the classification. His behaviour in the stage gained him the tifosi's hatred. It was said the only member of his team that Roche could rely on not to ride against him was his domestique Eddy Schepers, although Roche recruited Panasonic riders and old ACBB teammates Robert Millar and Australian Phil Anderson to protect him with Schepers on the Marmolada climb (a day known as the "Marmolada Massacre").
Roche finished the Giro exhausted but favourite for the Tour de France. Following Bernard Hinault's retirement, Laurent Fignon's choppy form and with Greg LeMond injured following an accidental shooting while hunting, the 1987 Tour was open. It was also one of the most mountainous since the war, with 25 stages. Roche won the individual time trial stage 10 to Futuroscope and came second on stage 19.
On stage 21, crossing the Galibier and Madeleine and finishing at La Plagne, Roche attacked early, was away for several hours but was caught on the last climb. His nearest rival Pedro Delgado then attacked. Despite being almost one-and-a-half minutes in arrears midway up the last climb, Roche pulled the deficit back to 4 seconds. Roche collapsed and lost consciousness and was given oxygen. When asked when revived if he was okay, he replied "Oui, mais pas de femme toute de suite" ("yes, but I am not ready for a woman straight away").
The yellow jersey (worn by the leader of the general classification) changed hands several times with Charly Mottet, Roche, Jean François Bernard and Delgado all wearing it before Roche used the final time trial to overturn a half-minute gap and win the Tour by 40 seconds, which was at the time the second-narrowest margin (in 1968 Jan Janssen had beaten Herman Van Springel by 38 seconds; two years after Roche's victory, Greg LeMond beat Laurent Fignon by 8 seconds). Roche became only the fifth cyclist in history to win the Tour and the Giro in the same year. He was also the only Irishman to win the Tour de France. Irish Taoiseach Charles Haughey joined Roche on the podium on the Champs-Élysées.
Later that year, with victory at the World road race championship in Villach in Austria, Roche became only the second to win the Triple Crown of Cycling. Roche arrived with insufficient training although he worked during the 23-lap, undulating terrain for his teammate Sean Kelly and escaped in the race-winning break only while covering for his countryman. With Moreno Argentin in the following group, Kelly did not chase and as the break slowed and jostling for position began for a sprint, Roche attacked from the finish and crossed the line with metres to spare.
Victory in the season-long Super Prestige Pernod International competition was assured.
Roche was given the freedom of Dublin in late September 1987. Several days later the 1987 edition of the Nissan Classic began and Roche rode strongly to finish second behind Kelly.
Post-1987 career
At the close of 1987, Roche moved to Fagor MBK, bringing English riders Sean Yates and Malcolm Elliot, 1984 Tour de France King of the Mountains winner Robert Millar and domestique Eddy Schepers. The team was criticised for containing too many English speakers.
The 1988 season began badly with a recurrence of the knee injury and Roche began a gradual decline. In 1989 he again took second in Paris–Nice (making four second places) and the Setmana Catalana de Ciclisme. Roche finished the 1989 Giro d'Italia ninth behind Laurent Fignon. During the 1989 Tour de France, Roche withdrew due to his knee.
There were problems with his team in and he changed again. In 1990, racing for Histor Sigma, he won the Four Days of Dunkirk and 1991 riding for Roger De Vlaeminck's TonTon Tapis brought victories in the Setmana Catalana de Ciclisme and Critérium International. In the 1991 Tour de France, Roche missed the start for his team's Team time trial and was forced to withdraw due to controversially missing the time cut.
In the Grand Tours, he was ninth in the 1989 Giro, and won a stage of the 1992 Tour de France in appalling conditions into La Bourboule (again racing for but now in support of Claudio Chiappucci) and en route to a final ninth place. Riding the last edition of the Nissan Classic Tour of Ireland, Roche was in many breaks but finished fifth. A year later, he was again ninth in the 1993 Giro d'Italia and 13th in the 1993 Tour de France.
Roche retired at the end of an anonymous 1993 which yielded a single win, in the post-Tour de France criterium at Chateau Chinon.
Doping
In May 1990, Paul Kimmage – a former professional and teammate of Roche at Fagor, as well as a fellow Dubliner – published an account of life in the peloton. His book Rough Ride exposed drug use apparently endemic in the peloton but spoke in fawning terms about Roche. Despite this, publication resulted in a threat of litigation from Roche.
It was reported in the Rome newspaper, La Repubblica, in January 2000 that Francesco Conconi, a professor at the University of Ferrara involved with administering erythropoietin (EPO) to riders on the Carrera team with which Roche had some of his best years, had provided riders including Roche with EPO. Roche denied the allegations. This was further reported in The Irish Times several days later, Roche again denying EPO. In March 2000 the Italian judge Franca Oliva published a report detailing the investigation into sports doctors including Conconi. This official judicial investigation unequivocally found that Roche was administered EPO in 1993, his last year in the peloton.
Files from part of the investigation allegedly detail a number of aliases for Roche including Rocchi, Rossi, Rocca, Roncati, Righi and Rossini. In 2004 Judge Oliva again alleged that Roche had taken EPO during 1993 but due to the statute of limitations, neither Roche nor his teammates at Carrera would be prosecuted.
Personal life
Roche lives in Antibes on the Côte d'Azur. Roche remained involved in the sport by founding cycling camps in Majorca, by taking part in race organisations and working as a commentator on cycling events for Eurosport.
He has four children with his former wife Lydia; the couple divorced in 2004. One son, Nicolas Roche, was a professional until his retirement in 2021, and was the 2009 and 2016 Irish National Road Race Champion.
Stephen's brother Lawrence Roche was also a professional cyclist who completed his only Tour de France in 1991. They were teammates on the Tonton Tapis–GB team.
Roche's nephew Dan Martin is also a professional cyclist with Israel Start-Up Nation, and was the 2008 Irish National Road Race Champion.
Roche completed the 2008 ING New York Marathon in a time of 4:21:09.
Advertisements
Roche featured in a well-known Irish television advert for Galtee cheese in 1987, shortly after winning the Tour De France.
Career achievements
Major results
Main Source
Amateur
1978
1st Road race, National Junior Road Championships
1st Isle of Man - Manx Viking Trophy
1979
1st Irish National Elite Cyclo-Cross Championships
1st Overall Rás Tailteann
1st Stages 2 & 9a
1980
1st Paris–Roubaix Espoirs
1st GP de France (ITT)
2nd Road race, National Road Championships
2nd Overall Route de France
2nd Paris-Mantes
2nd Grand Prix des Nations (amateurs)
3rd Paris – Ezy Source
Professional
1981
1st Overall Paris–Nice
1st Stage 7b (ITT)
1st Overall Tour de Corse
1st Stage 2
1st Overall Étoile des Espoirs
1st Prologue
1st Stage 4b
1st Overall Tour d'Indre-et-Loire
1st Stage 3
1st Stage 7 (ITT) Tour de l'Avenir
2nd Grand Prix des Nations
2nd GP Monaco
3rd Critérium des As
3rd GP de Cannes
1982
2nd Amstel Gold Race
3rd Overall Four Days of Dunkirk
3rd Trofeo Baracchi
1983
1st Overall Tour de Romandie
1st Overall Étoile des Espoirs
1st Paris–Bourges
1st Grand Prix de Wallonie
2nd Tour du Haut Var
3rd Road race, UCI Road World Championships
3rd Overall Route du Sud
3rd GP Ouest–France
1984
1st Overall Tour de Romandie
1st Nice – Alassio
1st Subida a Arrate
2nd Overall Paris–Nice
1st Stage 6
2nd Overall Tour Méditerranéen
2nd Overall Tour de Picardie
3rd Overall Critérium International
3rd Grand Prix des Nations
1985
1st Overall Critérium International
1st Stage 3 (ITT)
1st Overall Tour Midi-Pyrénées
1st Stage 1a
Critérium du Dauphiné Libéré
1st Prologue & Stage 9 (ITT)
Tour of Ireland
1st Stages 3b & 4a
1st Bol d'or des Monédières
1st Critérium Loudéac
1st Critérium Les Ormes
2nd Overall Paris–Nice
1st Stage 7b (ITT)
3rd Overall Tour de France
1st Stage 18a
3rd Overall Tour Méditerranéen
3rd Liège–Bastogne–Liège
7th Road race, UCI Road World Championships
1986
2nd Cronostaffetta (TTT)
7th Trofeo Baracchi
1987
1st Road race, UCI Road World Championships
1st Overall Tour de France
1st Stages 2 (TTT) & 10 (ITT)
1st Overall Giro d'Italia
1st Combination classification
1st Stages 1b (ITT), 3 (TTT) & 22 (ITT)
1st Overall Tour de Romandie
1st Stages 5a & 5b (ITT)
1st Overall Volta a la Comunitat Valenciana
1st Stage 4 (ITT)
1st Stage 7b (ITT) Paris–Nice
1st Overall Super Prestige Pernod International
1st Critérium Dublin
1st Critérium Kortenhoef
1st Critérium Aalsmeer
2nd Overall Tour of Ireland
2nd Overall Critérium International
2nd Liège–Bastogne–Liège
1989
1st Overall Tour of the Basque Country
1st Stage 5b (ITT)
1st Stage 3a (ITT) Four Days of Dunkirk
2nd Overall Paris–Nice
1st Stage 7b (ITT)
3rd Overall Critérium International
9th Overall Giro d'Italia
1990
1st Overall Four Days of Dunkirk
1st Critérium Calais
2nd Overall Paris–Nice
1991
1st Overall Critérium International
1st Overall Setmana Catalana de Ciclisme
1st Critérium Brioude
1992
2nd Giro del Piemonte
2nd Critérium Vouneuil-sous-Biard
3rd Bol d'or des Monédières
9th Overall Tour de France
1st Stage 16
1993
1st Critérium Chateau-Chinon-Ville
9th Overall Giro d'Italia
General classification results timeline
References
Further reading
External links
Official Tour de France results for Stephen Roche
Stephen Roche's Cycling Camp in Majorca
Stephen Roche's Charity Cycling Race
Irish male cyclists
Tour de France winners
Irish Tour de France stage winners
Giro d'Italia winners
Irish Giro d'Italia stage winners
UCI Road World Champions (elite men)
Olympic cyclists of Ireland
Cyclists at the 1980 Summer Olympics
Doping cases in cycling
Sportspeople from County Dublin
1959 births
Living people
Cycling announcers
Alumni of Dublin Institute of Technology
Irish expatriates in France
RTÉ Sports Person of the Year winners
People from Dundrum, Dublin
Super Prestige Pernod winners | true | [
"Facundo Melillán (born 23 April 1997) is an Argentine professional footballer who plays as a defender for All Boys.\n\nCareer\nAll Boys gave Melillán his start in senior football. The club were relegated from Primera B Nacional in 2017–18, the defender didn't appear competitively but did make the substitutes bench on two occasions. Melillán's professional bow arrived on 24 August 2018 during a 1–2 victory against Fénix in Primera B Metropolitana, coming on for the final minutes in place of Rodrigo Díaz. He was selected to start for the first time in the succeeding September versus Defensores Unidos.\n\nCareer statistics\n.\n\nReferences\n\nExternal links\n\n1997 births\nLiving people\nPeople from Neuquén\nArgentine footballers\nAssociation football defenders\nPrimera B Metropolitana players\nAll Boys footballers",
"Seybou Koita (born 15 April 1994) is a Nigerien professional footballer who last played as a forward in France for Red Star.\n\nClub career\nKoita arrived in France aged 5, but did not start playing football until much later. He first played for a club in Neuilly-sur-Seine, where he was solicited by a number of professional clubs. He signed for US Orléans and within two years was rewarded with a professional contract. He made his debut for the club in the Championnat National game against Amiens SC on 16 August 2013, when he came on as a stoppage time substitute. Injury kept him out of most of the season, and when Orléans were promoted to Ligue 2 he found himself fifth choice, so did not get much game time. His full debut came on 22 May 2015 in a 1–0 win over Sochaux, the only start of his Orléans career. At the end of the 2014–15 Ligue 2 season, Orléans were relegated, and Koita left the club and signed for Hapoel Ashkelon of the Israeli Liga Leumit (second tier).\n\nA foot injury, and visa issues, cut short his stay in Israel, and he spent time training with Red Star and trialling with Dunkerque before signing a six-month professional contract with Amiens SC in December 2016. In July 2017 he extended his contract with the club for a further two years.\n\nKoita left Amiens in January 2019 and spent more time in Israel during the second half of the 2018–19 season, with Ashdod. In September 2019 he returned to France with Red Star.\n\nInternational career\nKoita made his debut for the Niger national team on 23 March 2019 in an Africa Cup qualifier against Egypt, as a 67th-minute substitute for Issa Modibo Sidibé.\n\nPersonal life\nKoita holds dual Niger-Mali nationality.\n\nCareer statistics\n\nReferences\n\nExternal links\n\n1994 births\nLiving people\nPeople from Niamey\nAssociation football forwards\nNigerien footballers\nNiger international footballers\nNigerien people of Malian descent\nLigue 1 players\nLigue 2 players\nChampionnat National players\nChampionnat National 3 players\nIsraeli Premier League players\nLiga Leumit players\nUS Orléans players\nHapoel Ashkelon F.C. players\nAmiens SC players\nF.C. Ashdod players\nRed Star F.C. players\nNigerien expatriate footballers\nExpatriate footballers in Israel\nNigerien expatriate sportspeople in Israel\nExpatriate footballers in France\nNigerien expatriate sportspeople in France"
]
|
[
"Stephen Roche",
"Professional career",
"When did his professional career start?",
"Roche scored his first professional victory by beating Bernard Hinault in the Tour of Corsica."
]
| C_4dbb3522d6d446418c233d5e3d4d4a90_1 | Which team was he on? | 2 | Which team was Stephen Roche on? | Stephen Roche | Roche scored his first professional victory by beating Bernard Hinault in the Tour of Corsica. Less than a month later he won Paris-Nice (where he became the first, and still the only, new pro to win Paris-Nice) despite illness following the descent from Mont Ventoux and finished his debut season with victories in the Tour de Corse, Circuit d'Indre-et-Loire and Etoile des Espoirs races with a second place behind Hinault in the Grand Prix des Nations. In total, his debut yielded 10 victories. In 1982 his best performance was second in the Amstel Gold Race behind Jan Raas, but his rise continued in 1983 with victories in the Tour de Romandie, Grand Prix de Wallonie, Etoile des Espoirs and Paris-Bourges. In the 1983 Tour de France, Roche finished 13th and he finished the 1983 season with a bronze medal in the world cycling championship at Alterheim in Zurich. In 1984, riding for La Redoute following contractual wrangles with Peugeot (the settlement of which led Roche to sport Peugeot shorts for two years before winning a court action against Velo Club de Paris Peugeot) he repeated his Tour de Romandie win, won Nice-Alassio, Subida a Arrate and was second in Paris-Nice. He finished 25th in that year's Tour de France. In 1985, Roche won the Criterium International, the Route du Sud and came second in Paris-Nice and third in Liege-Bastogne-Liege. In the 1985 Tour de France Roche won stage 18 to the Aubisque and finished on the podium in 3rd position, 4 minutes and 29 seconds behind winner Bernard Hinault. CANNOTANSWER | CANNOTANSWER | Stephen Roche (; born 28 November 1959) is an Irish former professional road racing cyclist. In a 13-year professional career, he peaked in 1987, becoming the second of only two cyclists to win the Triple Crown of victories in the Tour de France and the Giro d'Italia general classification, plus the World road race championship, the first was Eddy Merckx. Roche's rise coincided with that of fellow Irishman Sean Kelly.
Although one of the finest cyclists of his generation and admired for his pedalling style, he struggled with knee injuries and never contended in the Grand Tours post-1987. He had 58 professional career wins. All of these wins still stand, despite Roche having been accused by an Italian judge of taking EPO in the later part of his career.
Early life and amateur career
On completion of his apprenticeship as a machinist in a Dublin dairy and following a successful amateur career in Ireland with the "Orwell Wheelers" club coached by Noel O'Neill of Dundrum (which included winning the Irish Junior Championship in 1977 and the Rás Tailteann in 1979), Roche joined the Athletic Club de Boulogne-Billancourt amateur team in Paris to prepare for the 1980 Olympic games in Moscow. Soon after his arrival Roche won the amateur Paris–Roubaix, escaping with Dirk Demol and sprinting to victory on the track at Roubaix. Roche was told by his directeur sportif that if he did not win he "would be sent home to Ireland that day".
He also finished on the podium at the early-season Paris–Ezy road race and finished 14th overall in the Sealink International stage race which was won by Bob Downs. However, a knee injury caused by a poorly fitted shoe plate led to a disappointing ride in Moscow, where he finished 45th. However, on return to France, August to October saw Roche win 19 races. That led to a contract with the Peugeot professional cycling team for 1981.
Professional career
Roche scored his first professional victory by beating Bernard Hinault in the Tour of Corsica. Less than a month later he won Paris–Nice (where he became the first, and still the only, new pro to win Paris–Nice) despite illness following the descent from Mont Ventoux and finished his debut season with victories in the Tour de Corse, Circuit d'Indre-et-Loire and Étoile des Espoirs races with a second place behind Hinault in the Grand Prix des Nations. In total, his debut yielded 10 victories.
In 1982 his best performance was second in the Amstel Gold Race behind Jan Raas, but his rise continued in 1983 with victories in the Tour de Romandie, Grand Prix de Wallonie, Étoile des Espoirs and Paris–Bourges. In the 1983 Tour de France, Roche finished 13th and he finished the 1983 season with a bronze medal in the world cycling championship at Alterheim in Zurich.
In 1984, riding for La Redoute following contractual wrangles with Peugeot (the settlement of which led Roche to sport Peugeot shorts for two years before winning a court action against Vélo Club de Paris Peugeot) he repeated his Tour de Romandie win, won Nice-Alassio, Subida a Arrate and was second in Paris–Nice. He finished 25th in that year's Tour de France.
In 1985, Roche won the Critérium International, the Route du Sud and came second in Paris–Nice and third in Liège–Bastogne–Liège. In the 1985 Tour de France Roche won stage 18 to the Aubisque and finished on the podium in 3rd position, 4 minutes and 29 seconds behind winner Bernard Hinault.
Chronic knee injury
In 1986 at a six-day event with UK professional Tony Doyle at Paris-Bercy, Roche crashed at speed and damaged his right knee. This destroyed his 1986 season at new team with little to show other than second in a stage of the Giro. Roche finished the 1986 Tour de France 48th, 1h 32m behind Greg LeMond, a Tour that Roche described as like "entering a dark tunnel" of pain.
The injury and then associated back problems recurred throughout his career (for example in the 1989 Tour Roche abandoned after banging the problem knee on his handlebars) and a series of operations appeared to only address direct or consequential symptoms of the core injury. Later non-surgical intervention under Dr.Hans-Wilhelm Müller-Wohlfahrt in Munich made some difference but the injury required constant care.
By the end of his career Roche was unable to compete at his best because of back problem which led to a loss of power in the left leg. In retirement he described riding the 1993 Tour de France "just for fun". He finished 13th, riding for Claudio Chiappucci).
1987 Triple Crown
In 1987, Roche had a tremendous season. In the spring, he won the Volta a la Comunitat Valenciana, taking a third victory in the Tour de Romandie and fourth place plus a stage win in Paris–Nice. He also finished second in Liège–Bastogne–Liège, the closest he got to winning a professional 'Monument' Classic. He blamed it on tactical naiveté and "riding like an amateur".
In the Giro d'Italia, Roche took three stage wins (including a team win with in the team time trial) en route to overall victory and became the first Giro victor from outside mainland Europe. Roche's stage wins that year in the Giro were stage 1b, the time trial downhill on the Poggio into San Remo and stage 22, a individual time trial into St. Vincent. Despite his stage wins, the race is remembered for the stage from Lido di Jesolo to Sappada, where Roche, contravening team orders, broke away alone early and despite being caught late in the race, had the strength to go with the counterattack and take the pink jersey from his teammate Roberto Visentini, who had been previously leading the classification. His behaviour in the stage gained him the tifosi's hatred. It was said the only member of his team that Roche could rely on not to ride against him was his domestique Eddy Schepers, although Roche recruited Panasonic riders and old ACBB teammates Robert Millar and Australian Phil Anderson to protect him with Schepers on the Marmolada climb (a day known as the "Marmolada Massacre").
Roche finished the Giro exhausted but favourite for the Tour de France. Following Bernard Hinault's retirement, Laurent Fignon's choppy form and with Greg LeMond injured following an accidental shooting while hunting, the 1987 Tour was open. It was also one of the most mountainous since the war, with 25 stages. Roche won the individual time trial stage 10 to Futuroscope and came second on stage 19.
On stage 21, crossing the Galibier and Madeleine and finishing at La Plagne, Roche attacked early, was away for several hours but was caught on the last climb. His nearest rival Pedro Delgado then attacked. Despite being almost one-and-a-half minutes in arrears midway up the last climb, Roche pulled the deficit back to 4 seconds. Roche collapsed and lost consciousness and was given oxygen. When asked when revived if he was okay, he replied "Oui, mais pas de femme toute de suite" ("yes, but I am not ready for a woman straight away").
The yellow jersey (worn by the leader of the general classification) changed hands several times with Charly Mottet, Roche, Jean François Bernard and Delgado all wearing it before Roche used the final time trial to overturn a half-minute gap and win the Tour by 40 seconds, which was at the time the second-narrowest margin (in 1968 Jan Janssen had beaten Herman Van Springel by 38 seconds; two years after Roche's victory, Greg LeMond beat Laurent Fignon by 8 seconds). Roche became only the fifth cyclist in history to win the Tour and the Giro in the same year. He was also the only Irishman to win the Tour de France. Irish Taoiseach Charles Haughey joined Roche on the podium on the Champs-Élysées.
Later that year, with victory at the World road race championship in Villach in Austria, Roche became only the second to win the Triple Crown of Cycling. Roche arrived with insufficient training although he worked during the 23-lap, undulating terrain for his teammate Sean Kelly and escaped in the race-winning break only while covering for his countryman. With Moreno Argentin in the following group, Kelly did not chase and as the break slowed and jostling for position began for a sprint, Roche attacked from the finish and crossed the line with metres to spare.
Victory in the season-long Super Prestige Pernod International competition was assured.
Roche was given the freedom of Dublin in late September 1987. Several days later the 1987 edition of the Nissan Classic began and Roche rode strongly to finish second behind Kelly.
Post-1987 career
At the close of 1987, Roche moved to Fagor MBK, bringing English riders Sean Yates and Malcolm Elliot, 1984 Tour de France King of the Mountains winner Robert Millar and domestique Eddy Schepers. The team was criticised for containing too many English speakers.
The 1988 season began badly with a recurrence of the knee injury and Roche began a gradual decline. In 1989 he again took second in Paris–Nice (making four second places) and the Setmana Catalana de Ciclisme. Roche finished the 1989 Giro d'Italia ninth behind Laurent Fignon. During the 1989 Tour de France, Roche withdrew due to his knee.
There were problems with his team in and he changed again. In 1990, racing for Histor Sigma, he won the Four Days of Dunkirk and 1991 riding for Roger De Vlaeminck's TonTon Tapis brought victories in the Setmana Catalana de Ciclisme and Critérium International. In the 1991 Tour de France, Roche missed the start for his team's Team time trial and was forced to withdraw due to controversially missing the time cut.
In the Grand Tours, he was ninth in the 1989 Giro, and won a stage of the 1992 Tour de France in appalling conditions into La Bourboule (again racing for but now in support of Claudio Chiappucci) and en route to a final ninth place. Riding the last edition of the Nissan Classic Tour of Ireland, Roche was in many breaks but finished fifth. A year later, he was again ninth in the 1993 Giro d'Italia and 13th in the 1993 Tour de France.
Roche retired at the end of an anonymous 1993 which yielded a single win, in the post-Tour de France criterium at Chateau Chinon.
Doping
In May 1990, Paul Kimmage – a former professional and teammate of Roche at Fagor, as well as a fellow Dubliner – published an account of life in the peloton. His book Rough Ride exposed drug use apparently endemic in the peloton but spoke in fawning terms about Roche. Despite this, publication resulted in a threat of litigation from Roche.
It was reported in the Rome newspaper, La Repubblica, in January 2000 that Francesco Conconi, a professor at the University of Ferrara involved with administering erythropoietin (EPO) to riders on the Carrera team with which Roche had some of his best years, had provided riders including Roche with EPO. Roche denied the allegations. This was further reported in The Irish Times several days later, Roche again denying EPO. In March 2000 the Italian judge Franca Oliva published a report detailing the investigation into sports doctors including Conconi. This official judicial investigation unequivocally found that Roche was administered EPO in 1993, his last year in the peloton.
Files from part of the investigation allegedly detail a number of aliases for Roche including Rocchi, Rossi, Rocca, Roncati, Righi and Rossini. In 2004 Judge Oliva again alleged that Roche had taken EPO during 1993 but due to the statute of limitations, neither Roche nor his teammates at Carrera would be prosecuted.
Personal life
Roche lives in Antibes on the Côte d'Azur. Roche remained involved in the sport by founding cycling camps in Majorca, by taking part in race organisations and working as a commentator on cycling events for Eurosport.
He has four children with his former wife Lydia; the couple divorced in 2004. One son, Nicolas Roche, was a professional until his retirement in 2021, and was the 2009 and 2016 Irish National Road Race Champion.
Stephen's brother Lawrence Roche was also a professional cyclist who completed his only Tour de France in 1991. They were teammates on the Tonton Tapis–GB team.
Roche's nephew Dan Martin is also a professional cyclist with Israel Start-Up Nation, and was the 2008 Irish National Road Race Champion.
Roche completed the 2008 ING New York Marathon in a time of 4:21:09.
Advertisements
Roche featured in a well-known Irish television advert for Galtee cheese in 1987, shortly after winning the Tour De France.
Career achievements
Major results
Main Source
Amateur
1978
1st Road race, National Junior Road Championships
1st Isle of Man - Manx Viking Trophy
1979
1st Irish National Elite Cyclo-Cross Championships
1st Overall Rás Tailteann
1st Stages 2 & 9a
1980
1st Paris–Roubaix Espoirs
1st GP de France (ITT)
2nd Road race, National Road Championships
2nd Overall Route de France
2nd Paris-Mantes
2nd Grand Prix des Nations (amateurs)
3rd Paris – Ezy Source
Professional
1981
1st Overall Paris–Nice
1st Stage 7b (ITT)
1st Overall Tour de Corse
1st Stage 2
1st Overall Étoile des Espoirs
1st Prologue
1st Stage 4b
1st Overall Tour d'Indre-et-Loire
1st Stage 3
1st Stage 7 (ITT) Tour de l'Avenir
2nd Grand Prix des Nations
2nd GP Monaco
3rd Critérium des As
3rd GP de Cannes
1982
2nd Amstel Gold Race
3rd Overall Four Days of Dunkirk
3rd Trofeo Baracchi
1983
1st Overall Tour de Romandie
1st Overall Étoile des Espoirs
1st Paris–Bourges
1st Grand Prix de Wallonie
2nd Tour du Haut Var
3rd Road race, UCI Road World Championships
3rd Overall Route du Sud
3rd GP Ouest–France
1984
1st Overall Tour de Romandie
1st Nice – Alassio
1st Subida a Arrate
2nd Overall Paris–Nice
1st Stage 6
2nd Overall Tour Méditerranéen
2nd Overall Tour de Picardie
3rd Overall Critérium International
3rd Grand Prix des Nations
1985
1st Overall Critérium International
1st Stage 3 (ITT)
1st Overall Tour Midi-Pyrénées
1st Stage 1a
Critérium du Dauphiné Libéré
1st Prologue & Stage 9 (ITT)
Tour of Ireland
1st Stages 3b & 4a
1st Bol d'or des Monédières
1st Critérium Loudéac
1st Critérium Les Ormes
2nd Overall Paris–Nice
1st Stage 7b (ITT)
3rd Overall Tour de France
1st Stage 18a
3rd Overall Tour Méditerranéen
3rd Liège–Bastogne–Liège
7th Road race, UCI Road World Championships
1986
2nd Cronostaffetta (TTT)
7th Trofeo Baracchi
1987
1st Road race, UCI Road World Championships
1st Overall Tour de France
1st Stages 2 (TTT) & 10 (ITT)
1st Overall Giro d'Italia
1st Combination classification
1st Stages 1b (ITT), 3 (TTT) & 22 (ITT)
1st Overall Tour de Romandie
1st Stages 5a & 5b (ITT)
1st Overall Volta a la Comunitat Valenciana
1st Stage 4 (ITT)
1st Stage 7b (ITT) Paris–Nice
1st Overall Super Prestige Pernod International
1st Critérium Dublin
1st Critérium Kortenhoef
1st Critérium Aalsmeer
2nd Overall Tour of Ireland
2nd Overall Critérium International
2nd Liège–Bastogne–Liège
1989
1st Overall Tour of the Basque Country
1st Stage 5b (ITT)
1st Stage 3a (ITT) Four Days of Dunkirk
2nd Overall Paris–Nice
1st Stage 7b (ITT)
3rd Overall Critérium International
9th Overall Giro d'Italia
1990
1st Overall Four Days of Dunkirk
1st Critérium Calais
2nd Overall Paris–Nice
1991
1st Overall Critérium International
1st Overall Setmana Catalana de Ciclisme
1st Critérium Brioude
1992
2nd Giro del Piemonte
2nd Critérium Vouneuil-sous-Biard
3rd Bol d'or des Monédières
9th Overall Tour de France
1st Stage 16
1993
1st Critérium Chateau-Chinon-Ville
9th Overall Giro d'Italia
General classification results timeline
References
Further reading
External links
Official Tour de France results for Stephen Roche
Stephen Roche's Cycling Camp in Majorca
Stephen Roche's Charity Cycling Race
Irish male cyclists
Tour de France winners
Irish Tour de France stage winners
Giro d'Italia winners
Irish Giro d'Italia stage winners
UCI Road World Champions (elite men)
Olympic cyclists of Ireland
Cyclists at the 1980 Summer Olympics
Doping cases in cycling
Sportspeople from County Dublin
1959 births
Living people
Cycling announcers
Alumni of Dublin Institute of Technology
Irish expatriates in France
RTÉ Sports Person of the Year winners
People from Dundrum, Dublin
Super Prestige Pernod winners | false | [
"Rontez Lamotte Miles (born November 25, 1988) is an American football strong safety who is currently a free agent. He was signed by the Jets as an undrafted free agent in 2013. He played college football at California (PA).\n\nEarly years \n\nMiles attended Woodland Hills High School in Pennsylvania. He was teammates with future NFL'ers Rob Gronkowski and Monte Simmons. He was also a three-year letterman, two-time all-conference and Big 33 while at Woodland Hills.\n\nCollege career\n\nFreshman season \n\nOn November 11, 2009, he was named the PSAC West Freshman of the Year. On November 18, 2009, he was selected to the PSAC West Second-Team.\n\nSophomore season \n\nHe was selected to the Football Gazette Third-Team All-Region team. He was also selected to the All-PSAC West First-Team.\n\nJunior season \n\nOn August 22, 2011, he was selected to the preseason D2Football.com First-Team All-American team. He was selected to the AFCA First-Team All-American and AP First-Team All-American team. He was named to the 2011 All-PSAC West First-Team. He selected to the All-American, Don Hansen Second-Team All-American, Daktronics First-Team All-Region and Don Hansen First-Team All-Region team following the conclusion of his Junior season. On November 16, 2011, he was selected as the PSAC West Defensive Player of the Year. He was selected as the Daktronics Super Region 1 Defensive Player of the Year.\n\nSenior season \n\nPrior to his Senior year, he was selected to the Preseason Lindy’s First-Team All-American and Preseason Beyond Sport Network (BSN) First-Team All-American team.\n\nProfessional career\n\nNew York Jets\nOn April 27, 2013, he signed with the New York Jets as an undrafted free agent. He was released on August 31, 2013. He was signed to the team's practice squad a day later. He was promoted to the active roster on November 1, 2013. He was released 10 days later after suspended tight end Kellen Winslow II returned to the active roster. He was re-signed to the practice squad on November 13, 2013. Miles was released on August 30, 2014 and signed to the team's practice squad a day later.\n\nHe was promoted to the Jets' active roster before the Jets' Week 17 season finale, and according to former head coach Rex Ryan, Miles was going to play a role on special teams. However, Miles suffered a leg injury in practice, after colliding with Marcus Williams. Miles was placed on injured reserve after undergoing surgery on December 26, 2014. On December 6, 2015, Miles recorded his first career interception against New York Giants quarterback Eli Manning on fourth down in the 4th quarter which helped the team comeback from a ten-point deficit in their overtime win against the New York Giants.\n\nOn March 14, 2018, the Jets placed a second-round restricted free agent tender on Miles. He re-signed for one year and just over $1 million, and later had surgery related to a torn meniscus. He was placed on the physically unable to perform list on September 1, 2018 to start the season due to the knee surgery. He was activated off PUP on November 2, 2018.\n\nOn November 6, 2019, Miles was placed on injured reserve with neck and hip injuries.\n\nReferences\n\nExternal links \nCalifornia (PA) bio\nNew York Jets bio\n\nLiving people\n1988 births\nNew York Jets players\nAmerican football safeties\nCalifornia Vulcans football players\nPeople from Braddock, Pennsylvania\nPlayers of American football from Pennsylvania\nSportspeople from the Pittsburgh metropolitan area",
"Deontae Skinner (born December 18, 1990) is an American football linebacker who is a free agent. He played college football at Mississippi State and attended Noxubee County High School in Macon, Mississippi. He has played for the New England Patriots, Philadelphia Eagles, and New York Giants.\n\nEarly years\nSkinner played high school football at Noxubee County High School. He was named First-Team All-State for his accomplishments during his senior year, recording 134 tackles, 28 tackles for loss, 11 of which were sacks, and two forced fumbles. Skinner recorded 122 tackles and five sacks his junior year.\n\nCollege career\nSkinner played football for the Mississippi State Bulldogs from 2010 to 2013. He was redshirted for the 2009 season.\n\nProfessional career\n\nNew England Patriots\nSkinner was signed by the New England Patriots on May 12, 2014, after going undrafted in the 2014 NFL Draft. He was released by the Patriots on August 26, 2014. He was signed to the team's practice squad on September 1, 2014. Skinner was promoted to the active roster on September 13, 2014, and was part of the team that won Super Bowl XLIX over the Seattle Seahawks. He made his NFL debut on September 14, 2014, against the Minnesota Vikings, recording two tackles. Skinner was released by the Patriots on October 29, 2014, and re-signed to the team's practice squad on October 31. He was released by the Patriots on November 26 and re-signed to the team's practice squad on December 3, 2014. He was released by the Patriots on May 5, 2015.\n\nPhiladelphia Eagles\nSkinner signed with the Philadelphia Eagles on August 14, 2015. He was released by the Eagles on September 5 and signed to the team's practice squad on September 6, 2015. On August 22, 2016, Skinner was released by the Eagles.\n\nNew York Giants\nOn September 13, 2016, Skinner was signed to the New York Giants' practice squad. He was released on September 17, 2016, and re-signed to the practice squad on September 19. He was promoted to the active roster on October 11, 2016. He was released again on November 19, 2016. He was re-signed to the active roster on December 3, 2016.\n\nOn September 2, 2017, Skinner was waived by the Giants. He was re-signed by the Giants on September 28, 2017. He was released again on October 4, 2017.\n\nOakland Raiders\nOn October 10, 2017, Skinner was signed to the Oakland Raiders' practice squad.\n\nNew York Giants (second stint)\nOn November 7, 2017, Skinner was signed by the Giants off the Raiders' practice squad. He was placed on injured reserve on November 27, 2017. He was waived by the Giants on February 22, 2018.\n\nTennessee Titans\nOn August 21, 2018, Skinner was signed by the Tennessee Titans. He was waived on August 28, 2018.\n\nReferences\n\nExternal links\nCollege stats\n\nLiving people\n1990 births\nAmerican football linebackers\nAfrican-American players of American football\nMississippi State Bulldogs football players\nNew England Patriots players\nOakland Raiders players\nPhiladelphia Eagles players\nNew York Giants players\nPeople from Macon, Mississippi\nPlayers of American football from Mississippi\nTennessee Titans players\nBirmingham Iron players\n21st-century African-American sportspeople"
]
|
[
"Stephen Roche",
"Professional career",
"When did his professional career start?",
"Roche scored his first professional victory by beating Bernard Hinault in the Tour of Corsica.",
"Which team was he on?",
"I don't know."
]
| C_4dbb3522d6d446418c233d5e3d4d4a90_1 | What happened after the Tour of Corsica? | 3 | What happened to Stephen Roche after his first professional victory in the Tour of Corsica? | Stephen Roche | Roche scored his first professional victory by beating Bernard Hinault in the Tour of Corsica. Less than a month later he won Paris-Nice (where he became the first, and still the only, new pro to win Paris-Nice) despite illness following the descent from Mont Ventoux and finished his debut season with victories in the Tour de Corse, Circuit d'Indre-et-Loire and Etoile des Espoirs races with a second place behind Hinault in the Grand Prix des Nations. In total, his debut yielded 10 victories. In 1982 his best performance was second in the Amstel Gold Race behind Jan Raas, but his rise continued in 1983 with victories in the Tour de Romandie, Grand Prix de Wallonie, Etoile des Espoirs and Paris-Bourges. In the 1983 Tour de France, Roche finished 13th and he finished the 1983 season with a bronze medal in the world cycling championship at Alterheim in Zurich. In 1984, riding for La Redoute following contractual wrangles with Peugeot (the settlement of which led Roche to sport Peugeot shorts for two years before winning a court action against Velo Club de Paris Peugeot) he repeated his Tour de Romandie win, won Nice-Alassio, Subida a Arrate and was second in Paris-Nice. He finished 25th in that year's Tour de France. In 1985, Roche won the Criterium International, the Route du Sud and came second in Paris-Nice and third in Liege-Bastogne-Liege. In the 1985 Tour de France Roche won stage 18 to the Aubisque and finished on the podium in 3rd position, 4 minutes and 29 seconds behind winner Bernard Hinault. CANNOTANSWER | Less than a month later he won Paris-Nice | Stephen Roche (; born 28 November 1959) is an Irish former professional road racing cyclist. In a 13-year professional career, he peaked in 1987, becoming the second of only two cyclists to win the Triple Crown of victories in the Tour de France and the Giro d'Italia general classification, plus the World road race championship, the first was Eddy Merckx. Roche's rise coincided with that of fellow Irishman Sean Kelly.
Although one of the finest cyclists of his generation and admired for his pedalling style, he struggled with knee injuries and never contended in the Grand Tours post-1987. He had 58 professional career wins. All of these wins still stand, despite Roche having been accused by an Italian judge of taking EPO in the later part of his career.
Early life and amateur career
On completion of his apprenticeship as a machinist in a Dublin dairy and following a successful amateur career in Ireland with the "Orwell Wheelers" club coached by Noel O'Neill of Dundrum (which included winning the Irish Junior Championship in 1977 and the Rás Tailteann in 1979), Roche joined the Athletic Club de Boulogne-Billancourt amateur team in Paris to prepare for the 1980 Olympic games in Moscow. Soon after his arrival Roche won the amateur Paris–Roubaix, escaping with Dirk Demol and sprinting to victory on the track at Roubaix. Roche was told by his directeur sportif that if he did not win he "would be sent home to Ireland that day".
He also finished on the podium at the early-season Paris–Ezy road race and finished 14th overall in the Sealink International stage race which was won by Bob Downs. However, a knee injury caused by a poorly fitted shoe plate led to a disappointing ride in Moscow, where he finished 45th. However, on return to France, August to October saw Roche win 19 races. That led to a contract with the Peugeot professional cycling team for 1981.
Professional career
Roche scored his first professional victory by beating Bernard Hinault in the Tour of Corsica. Less than a month later he won Paris–Nice (where he became the first, and still the only, new pro to win Paris–Nice) despite illness following the descent from Mont Ventoux and finished his debut season with victories in the Tour de Corse, Circuit d'Indre-et-Loire and Étoile des Espoirs races with a second place behind Hinault in the Grand Prix des Nations. In total, his debut yielded 10 victories.
In 1982 his best performance was second in the Amstel Gold Race behind Jan Raas, but his rise continued in 1983 with victories in the Tour de Romandie, Grand Prix de Wallonie, Étoile des Espoirs and Paris–Bourges. In the 1983 Tour de France, Roche finished 13th and he finished the 1983 season with a bronze medal in the world cycling championship at Alterheim in Zurich.
In 1984, riding for La Redoute following contractual wrangles with Peugeot (the settlement of which led Roche to sport Peugeot shorts for two years before winning a court action against Vélo Club de Paris Peugeot) he repeated his Tour de Romandie win, won Nice-Alassio, Subida a Arrate and was second in Paris–Nice. He finished 25th in that year's Tour de France.
In 1985, Roche won the Critérium International, the Route du Sud and came second in Paris–Nice and third in Liège–Bastogne–Liège. In the 1985 Tour de France Roche won stage 18 to the Aubisque and finished on the podium in 3rd position, 4 minutes and 29 seconds behind winner Bernard Hinault.
Chronic knee injury
In 1986 at a six-day event with UK professional Tony Doyle at Paris-Bercy, Roche crashed at speed and damaged his right knee. This destroyed his 1986 season at new team with little to show other than second in a stage of the Giro. Roche finished the 1986 Tour de France 48th, 1h 32m behind Greg LeMond, a Tour that Roche described as like "entering a dark tunnel" of pain.
The injury and then associated back problems recurred throughout his career (for example in the 1989 Tour Roche abandoned after banging the problem knee on his handlebars) and a series of operations appeared to only address direct or consequential symptoms of the core injury. Later non-surgical intervention under Dr.Hans-Wilhelm Müller-Wohlfahrt in Munich made some difference but the injury required constant care.
By the end of his career Roche was unable to compete at his best because of back problem which led to a loss of power in the left leg. In retirement he described riding the 1993 Tour de France "just for fun". He finished 13th, riding for Claudio Chiappucci).
1987 Triple Crown
In 1987, Roche had a tremendous season. In the spring, he won the Volta a la Comunitat Valenciana, taking a third victory in the Tour de Romandie and fourth place plus a stage win in Paris–Nice. He also finished second in Liège–Bastogne–Liège, the closest he got to winning a professional 'Monument' Classic. He blamed it on tactical naiveté and "riding like an amateur".
In the Giro d'Italia, Roche took three stage wins (including a team win with in the team time trial) en route to overall victory and became the first Giro victor from outside mainland Europe. Roche's stage wins that year in the Giro were stage 1b, the time trial downhill on the Poggio into San Remo and stage 22, a individual time trial into St. Vincent. Despite his stage wins, the race is remembered for the stage from Lido di Jesolo to Sappada, where Roche, contravening team orders, broke away alone early and despite being caught late in the race, had the strength to go with the counterattack and take the pink jersey from his teammate Roberto Visentini, who had been previously leading the classification. His behaviour in the stage gained him the tifosi's hatred. It was said the only member of his team that Roche could rely on not to ride against him was his domestique Eddy Schepers, although Roche recruited Panasonic riders and old ACBB teammates Robert Millar and Australian Phil Anderson to protect him with Schepers on the Marmolada climb (a day known as the "Marmolada Massacre").
Roche finished the Giro exhausted but favourite for the Tour de France. Following Bernard Hinault's retirement, Laurent Fignon's choppy form and with Greg LeMond injured following an accidental shooting while hunting, the 1987 Tour was open. It was also one of the most mountainous since the war, with 25 stages. Roche won the individual time trial stage 10 to Futuroscope and came second on stage 19.
On stage 21, crossing the Galibier and Madeleine and finishing at La Plagne, Roche attacked early, was away for several hours but was caught on the last climb. His nearest rival Pedro Delgado then attacked. Despite being almost one-and-a-half minutes in arrears midway up the last climb, Roche pulled the deficit back to 4 seconds. Roche collapsed and lost consciousness and was given oxygen. When asked when revived if he was okay, he replied "Oui, mais pas de femme toute de suite" ("yes, but I am not ready for a woman straight away").
The yellow jersey (worn by the leader of the general classification) changed hands several times with Charly Mottet, Roche, Jean François Bernard and Delgado all wearing it before Roche used the final time trial to overturn a half-minute gap and win the Tour by 40 seconds, which was at the time the second-narrowest margin (in 1968 Jan Janssen had beaten Herman Van Springel by 38 seconds; two years after Roche's victory, Greg LeMond beat Laurent Fignon by 8 seconds). Roche became only the fifth cyclist in history to win the Tour and the Giro in the same year. He was also the only Irishman to win the Tour de France. Irish Taoiseach Charles Haughey joined Roche on the podium on the Champs-Élysées.
Later that year, with victory at the World road race championship in Villach in Austria, Roche became only the second to win the Triple Crown of Cycling. Roche arrived with insufficient training although he worked during the 23-lap, undulating terrain for his teammate Sean Kelly and escaped in the race-winning break only while covering for his countryman. With Moreno Argentin in the following group, Kelly did not chase and as the break slowed and jostling for position began for a sprint, Roche attacked from the finish and crossed the line with metres to spare.
Victory in the season-long Super Prestige Pernod International competition was assured.
Roche was given the freedom of Dublin in late September 1987. Several days later the 1987 edition of the Nissan Classic began and Roche rode strongly to finish second behind Kelly.
Post-1987 career
At the close of 1987, Roche moved to Fagor MBK, bringing English riders Sean Yates and Malcolm Elliot, 1984 Tour de France King of the Mountains winner Robert Millar and domestique Eddy Schepers. The team was criticised for containing too many English speakers.
The 1988 season began badly with a recurrence of the knee injury and Roche began a gradual decline. In 1989 he again took second in Paris–Nice (making four second places) and the Setmana Catalana de Ciclisme. Roche finished the 1989 Giro d'Italia ninth behind Laurent Fignon. During the 1989 Tour de France, Roche withdrew due to his knee.
There were problems with his team in and he changed again. In 1990, racing for Histor Sigma, he won the Four Days of Dunkirk and 1991 riding for Roger De Vlaeminck's TonTon Tapis brought victories in the Setmana Catalana de Ciclisme and Critérium International. In the 1991 Tour de France, Roche missed the start for his team's Team time trial and was forced to withdraw due to controversially missing the time cut.
In the Grand Tours, he was ninth in the 1989 Giro, and won a stage of the 1992 Tour de France in appalling conditions into La Bourboule (again racing for but now in support of Claudio Chiappucci) and en route to a final ninth place. Riding the last edition of the Nissan Classic Tour of Ireland, Roche was in many breaks but finished fifth. A year later, he was again ninth in the 1993 Giro d'Italia and 13th in the 1993 Tour de France.
Roche retired at the end of an anonymous 1993 which yielded a single win, in the post-Tour de France criterium at Chateau Chinon.
Doping
In May 1990, Paul Kimmage – a former professional and teammate of Roche at Fagor, as well as a fellow Dubliner – published an account of life in the peloton. His book Rough Ride exposed drug use apparently endemic in the peloton but spoke in fawning terms about Roche. Despite this, publication resulted in a threat of litigation from Roche.
It was reported in the Rome newspaper, La Repubblica, in January 2000 that Francesco Conconi, a professor at the University of Ferrara involved with administering erythropoietin (EPO) to riders on the Carrera team with which Roche had some of his best years, had provided riders including Roche with EPO. Roche denied the allegations. This was further reported in The Irish Times several days later, Roche again denying EPO. In March 2000 the Italian judge Franca Oliva published a report detailing the investigation into sports doctors including Conconi. This official judicial investigation unequivocally found that Roche was administered EPO in 1993, his last year in the peloton.
Files from part of the investigation allegedly detail a number of aliases for Roche including Rocchi, Rossi, Rocca, Roncati, Righi and Rossini. In 2004 Judge Oliva again alleged that Roche had taken EPO during 1993 but due to the statute of limitations, neither Roche nor his teammates at Carrera would be prosecuted.
Personal life
Roche lives in Antibes on the Côte d'Azur. Roche remained involved in the sport by founding cycling camps in Majorca, by taking part in race organisations and working as a commentator on cycling events for Eurosport.
He has four children with his former wife Lydia; the couple divorced in 2004. One son, Nicolas Roche, was a professional until his retirement in 2021, and was the 2009 and 2016 Irish National Road Race Champion.
Stephen's brother Lawrence Roche was also a professional cyclist who completed his only Tour de France in 1991. They were teammates on the Tonton Tapis–GB team.
Roche's nephew Dan Martin is also a professional cyclist with Israel Start-Up Nation, and was the 2008 Irish National Road Race Champion.
Roche completed the 2008 ING New York Marathon in a time of 4:21:09.
Advertisements
Roche featured in a well-known Irish television advert for Galtee cheese in 1987, shortly after winning the Tour De France.
Career achievements
Major results
Main Source
Amateur
1978
1st Road race, National Junior Road Championships
1st Isle of Man - Manx Viking Trophy
1979
1st Irish National Elite Cyclo-Cross Championships
1st Overall Rás Tailteann
1st Stages 2 & 9a
1980
1st Paris–Roubaix Espoirs
1st GP de France (ITT)
2nd Road race, National Road Championships
2nd Overall Route de France
2nd Paris-Mantes
2nd Grand Prix des Nations (amateurs)
3rd Paris – Ezy Source
Professional
1981
1st Overall Paris–Nice
1st Stage 7b (ITT)
1st Overall Tour de Corse
1st Stage 2
1st Overall Étoile des Espoirs
1st Prologue
1st Stage 4b
1st Overall Tour d'Indre-et-Loire
1st Stage 3
1st Stage 7 (ITT) Tour de l'Avenir
2nd Grand Prix des Nations
2nd GP Monaco
3rd Critérium des As
3rd GP de Cannes
1982
2nd Amstel Gold Race
3rd Overall Four Days of Dunkirk
3rd Trofeo Baracchi
1983
1st Overall Tour de Romandie
1st Overall Étoile des Espoirs
1st Paris–Bourges
1st Grand Prix de Wallonie
2nd Tour du Haut Var
3rd Road race, UCI Road World Championships
3rd Overall Route du Sud
3rd GP Ouest–France
1984
1st Overall Tour de Romandie
1st Nice – Alassio
1st Subida a Arrate
2nd Overall Paris–Nice
1st Stage 6
2nd Overall Tour Méditerranéen
2nd Overall Tour de Picardie
3rd Overall Critérium International
3rd Grand Prix des Nations
1985
1st Overall Critérium International
1st Stage 3 (ITT)
1st Overall Tour Midi-Pyrénées
1st Stage 1a
Critérium du Dauphiné Libéré
1st Prologue & Stage 9 (ITT)
Tour of Ireland
1st Stages 3b & 4a
1st Bol d'or des Monédières
1st Critérium Loudéac
1st Critérium Les Ormes
2nd Overall Paris–Nice
1st Stage 7b (ITT)
3rd Overall Tour de France
1st Stage 18a
3rd Overall Tour Méditerranéen
3rd Liège–Bastogne–Liège
7th Road race, UCI Road World Championships
1986
2nd Cronostaffetta (TTT)
7th Trofeo Baracchi
1987
1st Road race, UCI Road World Championships
1st Overall Tour de France
1st Stages 2 (TTT) & 10 (ITT)
1st Overall Giro d'Italia
1st Combination classification
1st Stages 1b (ITT), 3 (TTT) & 22 (ITT)
1st Overall Tour de Romandie
1st Stages 5a & 5b (ITT)
1st Overall Volta a la Comunitat Valenciana
1st Stage 4 (ITT)
1st Stage 7b (ITT) Paris–Nice
1st Overall Super Prestige Pernod International
1st Critérium Dublin
1st Critérium Kortenhoef
1st Critérium Aalsmeer
2nd Overall Tour of Ireland
2nd Overall Critérium International
2nd Liège–Bastogne–Liège
1989
1st Overall Tour of the Basque Country
1st Stage 5b (ITT)
1st Stage 3a (ITT) Four Days of Dunkirk
2nd Overall Paris–Nice
1st Stage 7b (ITT)
3rd Overall Critérium International
9th Overall Giro d'Italia
1990
1st Overall Four Days of Dunkirk
1st Critérium Calais
2nd Overall Paris–Nice
1991
1st Overall Critérium International
1st Overall Setmana Catalana de Ciclisme
1st Critérium Brioude
1992
2nd Giro del Piemonte
2nd Critérium Vouneuil-sous-Biard
3rd Bol d'or des Monédières
9th Overall Tour de France
1st Stage 16
1993
1st Critérium Chateau-Chinon-Ville
9th Overall Giro d'Italia
General classification results timeline
References
Further reading
External links
Official Tour de France results for Stephen Roche
Stephen Roche's Cycling Camp in Majorca
Stephen Roche's Charity Cycling Race
Irish male cyclists
Tour de France winners
Irish Tour de France stage winners
Giro d'Italia winners
Irish Giro d'Italia stage winners
UCI Road World Champions (elite men)
Olympic cyclists of Ireland
Cyclists at the 1980 Summer Olympics
Doping cases in cycling
Sportspeople from County Dublin
1959 births
Living people
Cycling announcers
Alumni of Dublin Institute of Technology
Irish expatriates in France
RTÉ Sports Person of the Year winners
People from Dundrum, Dublin
Super Prestige Pernod winners | false | [
"The Tour de Capriona or Tour de Porto Pollo () is a Genoese tower located in the commune of Serra-di-Ferro near the village of Porto Pollo on the west coast of Corsica. Only part of the base survives.\n\nThe tower was built in the second half of the 16th century. It was one of a series of coastal defences constructed by the Republic of Genoa between 1530 and 1620 to stem the attacks by Barbary pirates.\n\nSee also\nList of Genoese towers in Corsica\n\nReferences\n\nTowers in Corsica",
"Classica Corsica was an elite men's road bicycle racing event held in 2015 on the island of Corsica, a region of France. It was run two days before the Critérium International stage race, which had been held on Corsica every year since 2010. The Classica itself was a legacy event of the 2013 Tour de France, when the race held its Grand Départ and first three stages on the island. The event was UCI 1.1 rated and was part of the 2015 UCI Europe Tour. The route of the race saw the riders depart Ajaccio and finish in Bastia after taking in the Col de Vizzavona and the Col de Bellagranajo, before flattening out in the second half of the stage, which represented essentially a reverse running of the second stage from the 2013 Tour.\n\nWinners\n\nReferences\n\nExternal links\n \n\nCycle races in France\nUCI Europe Tour races\nRecurring sporting events established in 2015\n2015 establishments in France\nRecurring sporting events disestablished in 2015\n2015 disestablishments in France"
]
|
[
"Stephen Roche",
"Professional career",
"When did his professional career start?",
"Roche scored his first professional victory by beating Bernard Hinault in the Tour of Corsica.",
"Which team was he on?",
"I don't know.",
"What happened after the Tour of Corsica?",
"Less than a month later he won Paris-Nice"
]
| C_4dbb3522d6d446418c233d5e3d4d4a90_1 | What happened after he won Paris-Nice? | 4 | What happened after Stephen Roche won Paris-Nice after the Tour of Corsica? | Stephen Roche | Roche scored his first professional victory by beating Bernard Hinault in the Tour of Corsica. Less than a month later he won Paris-Nice (where he became the first, and still the only, new pro to win Paris-Nice) despite illness following the descent from Mont Ventoux and finished his debut season with victories in the Tour de Corse, Circuit d'Indre-et-Loire and Etoile des Espoirs races with a second place behind Hinault in the Grand Prix des Nations. In total, his debut yielded 10 victories. In 1982 his best performance was second in the Amstel Gold Race behind Jan Raas, but his rise continued in 1983 with victories in the Tour de Romandie, Grand Prix de Wallonie, Etoile des Espoirs and Paris-Bourges. In the 1983 Tour de France, Roche finished 13th and he finished the 1983 season with a bronze medal in the world cycling championship at Alterheim in Zurich. In 1984, riding for La Redoute following contractual wrangles with Peugeot (the settlement of which led Roche to sport Peugeot shorts for two years before winning a court action against Velo Club de Paris Peugeot) he repeated his Tour de Romandie win, won Nice-Alassio, Subida a Arrate and was second in Paris-Nice. He finished 25th in that year's Tour de France. In 1985, Roche won the Criterium International, the Route du Sud and came second in Paris-Nice and third in Liege-Bastogne-Liege. In the 1985 Tour de France Roche won stage 18 to the Aubisque and finished on the podium in 3rd position, 4 minutes and 29 seconds behind winner Bernard Hinault. CANNOTANSWER | illness following the descent from Mont Ventoux and finished his debut season with victories in the Tour de Corse, | Stephen Roche (; born 28 November 1959) is an Irish former professional road racing cyclist. In a 13-year professional career, he peaked in 1987, becoming the second of only two cyclists to win the Triple Crown of victories in the Tour de France and the Giro d'Italia general classification, plus the World road race championship, the first was Eddy Merckx. Roche's rise coincided with that of fellow Irishman Sean Kelly.
Although one of the finest cyclists of his generation and admired for his pedalling style, he struggled with knee injuries and never contended in the Grand Tours post-1987. He had 58 professional career wins. All of these wins still stand, despite Roche having been accused by an Italian judge of taking EPO in the later part of his career.
Early life and amateur career
On completion of his apprenticeship as a machinist in a Dublin dairy and following a successful amateur career in Ireland with the "Orwell Wheelers" club coached by Noel O'Neill of Dundrum (which included winning the Irish Junior Championship in 1977 and the Rás Tailteann in 1979), Roche joined the Athletic Club de Boulogne-Billancourt amateur team in Paris to prepare for the 1980 Olympic games in Moscow. Soon after his arrival Roche won the amateur Paris–Roubaix, escaping with Dirk Demol and sprinting to victory on the track at Roubaix. Roche was told by his directeur sportif that if he did not win he "would be sent home to Ireland that day".
He also finished on the podium at the early-season Paris–Ezy road race and finished 14th overall in the Sealink International stage race which was won by Bob Downs. However, a knee injury caused by a poorly fitted shoe plate led to a disappointing ride in Moscow, where he finished 45th. However, on return to France, August to October saw Roche win 19 races. That led to a contract with the Peugeot professional cycling team for 1981.
Professional career
Roche scored his first professional victory by beating Bernard Hinault in the Tour of Corsica. Less than a month later he won Paris–Nice (where he became the first, and still the only, new pro to win Paris–Nice) despite illness following the descent from Mont Ventoux and finished his debut season with victories in the Tour de Corse, Circuit d'Indre-et-Loire and Étoile des Espoirs races with a second place behind Hinault in the Grand Prix des Nations. In total, his debut yielded 10 victories.
In 1982 his best performance was second in the Amstel Gold Race behind Jan Raas, but his rise continued in 1983 with victories in the Tour de Romandie, Grand Prix de Wallonie, Étoile des Espoirs and Paris–Bourges. In the 1983 Tour de France, Roche finished 13th and he finished the 1983 season with a bronze medal in the world cycling championship at Alterheim in Zurich.
In 1984, riding for La Redoute following contractual wrangles with Peugeot (the settlement of which led Roche to sport Peugeot shorts for two years before winning a court action against Vélo Club de Paris Peugeot) he repeated his Tour de Romandie win, won Nice-Alassio, Subida a Arrate and was second in Paris–Nice. He finished 25th in that year's Tour de France.
In 1985, Roche won the Critérium International, the Route du Sud and came second in Paris–Nice and third in Liège–Bastogne–Liège. In the 1985 Tour de France Roche won stage 18 to the Aubisque and finished on the podium in 3rd position, 4 minutes and 29 seconds behind winner Bernard Hinault.
Chronic knee injury
In 1986 at a six-day event with UK professional Tony Doyle at Paris-Bercy, Roche crashed at speed and damaged his right knee. This destroyed his 1986 season at new team with little to show other than second in a stage of the Giro. Roche finished the 1986 Tour de France 48th, 1h 32m behind Greg LeMond, a Tour that Roche described as like "entering a dark tunnel" of pain.
The injury and then associated back problems recurred throughout his career (for example in the 1989 Tour Roche abandoned after banging the problem knee on his handlebars) and a series of operations appeared to only address direct or consequential symptoms of the core injury. Later non-surgical intervention under Dr.Hans-Wilhelm Müller-Wohlfahrt in Munich made some difference but the injury required constant care.
By the end of his career Roche was unable to compete at his best because of back problem which led to a loss of power in the left leg. In retirement he described riding the 1993 Tour de France "just for fun". He finished 13th, riding for Claudio Chiappucci).
1987 Triple Crown
In 1987, Roche had a tremendous season. In the spring, he won the Volta a la Comunitat Valenciana, taking a third victory in the Tour de Romandie and fourth place plus a stage win in Paris–Nice. He also finished second in Liège–Bastogne–Liège, the closest he got to winning a professional 'Monument' Classic. He blamed it on tactical naiveté and "riding like an amateur".
In the Giro d'Italia, Roche took three stage wins (including a team win with in the team time trial) en route to overall victory and became the first Giro victor from outside mainland Europe. Roche's stage wins that year in the Giro were stage 1b, the time trial downhill on the Poggio into San Remo and stage 22, a individual time trial into St. Vincent. Despite his stage wins, the race is remembered for the stage from Lido di Jesolo to Sappada, where Roche, contravening team orders, broke away alone early and despite being caught late in the race, had the strength to go with the counterattack and take the pink jersey from his teammate Roberto Visentini, who had been previously leading the classification. His behaviour in the stage gained him the tifosi's hatred. It was said the only member of his team that Roche could rely on not to ride against him was his domestique Eddy Schepers, although Roche recruited Panasonic riders and old ACBB teammates Robert Millar and Australian Phil Anderson to protect him with Schepers on the Marmolada climb (a day known as the "Marmolada Massacre").
Roche finished the Giro exhausted but favourite for the Tour de France. Following Bernard Hinault's retirement, Laurent Fignon's choppy form and with Greg LeMond injured following an accidental shooting while hunting, the 1987 Tour was open. It was also one of the most mountainous since the war, with 25 stages. Roche won the individual time trial stage 10 to Futuroscope and came second on stage 19.
On stage 21, crossing the Galibier and Madeleine and finishing at La Plagne, Roche attacked early, was away for several hours but was caught on the last climb. His nearest rival Pedro Delgado then attacked. Despite being almost one-and-a-half minutes in arrears midway up the last climb, Roche pulled the deficit back to 4 seconds. Roche collapsed and lost consciousness and was given oxygen. When asked when revived if he was okay, he replied "Oui, mais pas de femme toute de suite" ("yes, but I am not ready for a woman straight away").
The yellow jersey (worn by the leader of the general classification) changed hands several times with Charly Mottet, Roche, Jean François Bernard and Delgado all wearing it before Roche used the final time trial to overturn a half-minute gap and win the Tour by 40 seconds, which was at the time the second-narrowest margin (in 1968 Jan Janssen had beaten Herman Van Springel by 38 seconds; two years after Roche's victory, Greg LeMond beat Laurent Fignon by 8 seconds). Roche became only the fifth cyclist in history to win the Tour and the Giro in the same year. He was also the only Irishman to win the Tour de France. Irish Taoiseach Charles Haughey joined Roche on the podium on the Champs-Élysées.
Later that year, with victory at the World road race championship in Villach in Austria, Roche became only the second to win the Triple Crown of Cycling. Roche arrived with insufficient training although he worked during the 23-lap, undulating terrain for his teammate Sean Kelly and escaped in the race-winning break only while covering for his countryman. With Moreno Argentin in the following group, Kelly did not chase and as the break slowed and jostling for position began for a sprint, Roche attacked from the finish and crossed the line with metres to spare.
Victory in the season-long Super Prestige Pernod International competition was assured.
Roche was given the freedom of Dublin in late September 1987. Several days later the 1987 edition of the Nissan Classic began and Roche rode strongly to finish second behind Kelly.
Post-1987 career
At the close of 1987, Roche moved to Fagor MBK, bringing English riders Sean Yates and Malcolm Elliot, 1984 Tour de France King of the Mountains winner Robert Millar and domestique Eddy Schepers. The team was criticised for containing too many English speakers.
The 1988 season began badly with a recurrence of the knee injury and Roche began a gradual decline. In 1989 he again took second in Paris–Nice (making four second places) and the Setmana Catalana de Ciclisme. Roche finished the 1989 Giro d'Italia ninth behind Laurent Fignon. During the 1989 Tour de France, Roche withdrew due to his knee.
There were problems with his team in and he changed again. In 1990, racing for Histor Sigma, he won the Four Days of Dunkirk and 1991 riding for Roger De Vlaeminck's TonTon Tapis brought victories in the Setmana Catalana de Ciclisme and Critérium International. In the 1991 Tour de France, Roche missed the start for his team's Team time trial and was forced to withdraw due to controversially missing the time cut.
In the Grand Tours, he was ninth in the 1989 Giro, and won a stage of the 1992 Tour de France in appalling conditions into La Bourboule (again racing for but now in support of Claudio Chiappucci) and en route to a final ninth place. Riding the last edition of the Nissan Classic Tour of Ireland, Roche was in many breaks but finished fifth. A year later, he was again ninth in the 1993 Giro d'Italia and 13th in the 1993 Tour de France.
Roche retired at the end of an anonymous 1993 which yielded a single win, in the post-Tour de France criterium at Chateau Chinon.
Doping
In May 1990, Paul Kimmage – a former professional and teammate of Roche at Fagor, as well as a fellow Dubliner – published an account of life in the peloton. His book Rough Ride exposed drug use apparently endemic in the peloton but spoke in fawning terms about Roche. Despite this, publication resulted in a threat of litigation from Roche.
It was reported in the Rome newspaper, La Repubblica, in January 2000 that Francesco Conconi, a professor at the University of Ferrara involved with administering erythropoietin (EPO) to riders on the Carrera team with which Roche had some of his best years, had provided riders including Roche with EPO. Roche denied the allegations. This was further reported in The Irish Times several days later, Roche again denying EPO. In March 2000 the Italian judge Franca Oliva published a report detailing the investigation into sports doctors including Conconi. This official judicial investigation unequivocally found that Roche was administered EPO in 1993, his last year in the peloton.
Files from part of the investigation allegedly detail a number of aliases for Roche including Rocchi, Rossi, Rocca, Roncati, Righi and Rossini. In 2004 Judge Oliva again alleged that Roche had taken EPO during 1993 but due to the statute of limitations, neither Roche nor his teammates at Carrera would be prosecuted.
Personal life
Roche lives in Antibes on the Côte d'Azur. Roche remained involved in the sport by founding cycling camps in Majorca, by taking part in race organisations and working as a commentator on cycling events for Eurosport.
He has four children with his former wife Lydia; the couple divorced in 2004. One son, Nicolas Roche, was a professional until his retirement in 2021, and was the 2009 and 2016 Irish National Road Race Champion.
Stephen's brother Lawrence Roche was also a professional cyclist who completed his only Tour de France in 1991. They were teammates on the Tonton Tapis–GB team.
Roche's nephew Dan Martin is also a professional cyclist with Israel Start-Up Nation, and was the 2008 Irish National Road Race Champion.
Roche completed the 2008 ING New York Marathon in a time of 4:21:09.
Advertisements
Roche featured in a well-known Irish television advert for Galtee cheese in 1987, shortly after winning the Tour De France.
Career achievements
Major results
Main Source
Amateur
1978
1st Road race, National Junior Road Championships
1st Isle of Man - Manx Viking Trophy
1979
1st Irish National Elite Cyclo-Cross Championships
1st Overall Rás Tailteann
1st Stages 2 & 9a
1980
1st Paris–Roubaix Espoirs
1st GP de France (ITT)
2nd Road race, National Road Championships
2nd Overall Route de France
2nd Paris-Mantes
2nd Grand Prix des Nations (amateurs)
3rd Paris – Ezy Source
Professional
1981
1st Overall Paris–Nice
1st Stage 7b (ITT)
1st Overall Tour de Corse
1st Stage 2
1st Overall Étoile des Espoirs
1st Prologue
1st Stage 4b
1st Overall Tour d'Indre-et-Loire
1st Stage 3
1st Stage 7 (ITT) Tour de l'Avenir
2nd Grand Prix des Nations
2nd GP Monaco
3rd Critérium des As
3rd GP de Cannes
1982
2nd Amstel Gold Race
3rd Overall Four Days of Dunkirk
3rd Trofeo Baracchi
1983
1st Overall Tour de Romandie
1st Overall Étoile des Espoirs
1st Paris–Bourges
1st Grand Prix de Wallonie
2nd Tour du Haut Var
3rd Road race, UCI Road World Championships
3rd Overall Route du Sud
3rd GP Ouest–France
1984
1st Overall Tour de Romandie
1st Nice – Alassio
1st Subida a Arrate
2nd Overall Paris–Nice
1st Stage 6
2nd Overall Tour Méditerranéen
2nd Overall Tour de Picardie
3rd Overall Critérium International
3rd Grand Prix des Nations
1985
1st Overall Critérium International
1st Stage 3 (ITT)
1st Overall Tour Midi-Pyrénées
1st Stage 1a
Critérium du Dauphiné Libéré
1st Prologue & Stage 9 (ITT)
Tour of Ireland
1st Stages 3b & 4a
1st Bol d'or des Monédières
1st Critérium Loudéac
1st Critérium Les Ormes
2nd Overall Paris–Nice
1st Stage 7b (ITT)
3rd Overall Tour de France
1st Stage 18a
3rd Overall Tour Méditerranéen
3rd Liège–Bastogne–Liège
7th Road race, UCI Road World Championships
1986
2nd Cronostaffetta (TTT)
7th Trofeo Baracchi
1987
1st Road race, UCI Road World Championships
1st Overall Tour de France
1st Stages 2 (TTT) & 10 (ITT)
1st Overall Giro d'Italia
1st Combination classification
1st Stages 1b (ITT), 3 (TTT) & 22 (ITT)
1st Overall Tour de Romandie
1st Stages 5a & 5b (ITT)
1st Overall Volta a la Comunitat Valenciana
1st Stage 4 (ITT)
1st Stage 7b (ITT) Paris–Nice
1st Overall Super Prestige Pernod International
1st Critérium Dublin
1st Critérium Kortenhoef
1st Critérium Aalsmeer
2nd Overall Tour of Ireland
2nd Overall Critérium International
2nd Liège–Bastogne–Liège
1989
1st Overall Tour of the Basque Country
1st Stage 5b (ITT)
1st Stage 3a (ITT) Four Days of Dunkirk
2nd Overall Paris–Nice
1st Stage 7b (ITT)
3rd Overall Critérium International
9th Overall Giro d'Italia
1990
1st Overall Four Days of Dunkirk
1st Critérium Calais
2nd Overall Paris–Nice
1991
1st Overall Critérium International
1st Overall Setmana Catalana de Ciclisme
1st Critérium Brioude
1992
2nd Giro del Piemonte
2nd Critérium Vouneuil-sous-Biard
3rd Bol d'or des Monédières
9th Overall Tour de France
1st Stage 16
1993
1st Critérium Chateau-Chinon-Ville
9th Overall Giro d'Italia
General classification results timeline
References
Further reading
External links
Official Tour de France results for Stephen Roche
Stephen Roche's Cycling Camp in Majorca
Stephen Roche's Charity Cycling Race
Irish male cyclists
Tour de France winners
Irish Tour de France stage winners
Giro d'Italia winners
Irish Giro d'Italia stage winners
UCI Road World Champions (elite men)
Olympic cyclists of Ireland
Cyclists at the 1980 Summer Olympics
Doping cases in cycling
Sportspeople from County Dublin
1959 births
Living people
Cycling announcers
Alumni of Dublin Institute of Technology
Irish expatriates in France
RTÉ Sports Person of the Year winners
People from Dundrum, Dublin
Super Prestige Pernod winners | true | [
"Victor Kahn (; 1889 in Moscow – 6 October 1971 in Nice) was a Russian–French chess master.\n\nHe was born in Moscow but left Russia in 1912 eventually ending up in France going via Sweden, Denmark and Germany. He won the Copenhagen Championship in 1916. He also played at Hamburg 1916. \nHe tied for 8-9th at Copenhagen 1918.\n\nAfter World War I, he tied for 1st-2nd at Haarlem 1919. He took 10th at Paris 1920 (Frederic Lazard won). In 1921, he took 3rd in Utrecht (Quadrangular; Adolf Olland won). In 1922, he tied for 2nd-3rd in Paris (André Muffang won). In 1923, Kahn won in Paris (Cercle Philidor Tournament).\n\nIn 1924, he tied for 4-7th in Paris (Eugene Znosko-Borovsky won). In 1925, he tied for 5-7th in Paris City Championship (Abraham Baratz and Vitaly Halberstadt won), took 4th in Scarborough (Max Romih won), tied for 1st-2nd with Bertrand in Paris. In 1926, he tied for 3rd-4th in Paris Championship (Leon Schwartzmann won), tied for 3rd-4th in Paris (Peter Potemkine and Halberstadt won), tied for 5-6th in Scarborough (Alexander Alekhine won), and took 3rd in Paris Baratz won). In 1927, he tied for 8-9th in Paris Championship (Baratz won). In 1930, he tied for 3-5th in Paris Championship (Josef Cukierman won).\n\nAfter settling in Nice, he acquired French citizenship. In 1932, he took 9th in La Baule (11th FRA-ch; Maurice Raizman won). In 1933, he tied for 3rd-4th in Sarreguemines (12th FRA-ch; Aristide Gromer won). In 1934, he won the 13th French Championship in Paris, tied for 1st-2nd with Raizman in 16th Paris Championship, and took 2nd, behind Znosko-Borovsky, in Nice. In 1935 he lost a match against Spanish player Ramon Rey Ardid (+0 –2 =4) in Zaragoza, he tied for 1st-2nd with George Koltanowski in Mollet. In 1937, he took 3rd in Nice (Quadrangular; Alekhine won), and took 3rd in Toulouse (16th FRA-ch; Gromer and Amédée Gibaud won). In 1938, he took 4th in Nice (17th FRA-ch; Raizman and Gromer won).\n\nKahn played in several Chess Olympiads. He represented Russia in 1st unofficial Chess Olympiad at Paris 1924, and played for France four times.\n In 1931, at third board in 4th Olympiad in Prague (+1 –7 =5);\n In 1933, at third board in 5th Olympiad in Folkestone (+3 –3 =6);\n In 1935, at fourth board in 6th Olympiad in Warsaw (+1 –4 =4);\n In 1939, at third board in 8th Olympiad in Buenos Aires (+4 –9 =5).\n\nReferences \n\n1889 births\n1971 deaths\nSportspeople from Moscow\nPeople from Moscow Governorate\nRussian Jews\nEmigrants from the Russian Empire to France\nFrench people of Russian-Jewish descent\nJewish chess players\nRussian chess players\nFrench chess players\nChess Olympiad competitors",
"The 2011 Paris–Nice was the 69th running of the Paris–Nice cycling stage race, often known as the Race to the Sun. It started on 6 March in Houdan and ended on 13 March in Nice and consisted of eight stages, including a time trial. It was the second race of the 2011 UCI World Tour season.\n\nThe race was won by rider Tony Martin, after holding onto the leader's yellow jersey which came from a time trial stage win on stage six. Martin's winning margin over runner-up and fellow German Andreas Klöden () – winner of the fifth stage of the race – was 36 seconds, with 's Bradley Wiggins completing the podium, 41 seconds down on Martin.\n\nIn the race's other classifications, Rein Taaramäe of won the white jersey for the highest placed rider under the age of 25, and 's Heinrich Haussler took home the green jersey for amassing the highest number of points during stages at intermediate sprints and stage finishes. rider Rémi Pauriol won the King of the Mountains classification, with finishing at the head of the teams classification.\n\nTeams competing\n\n22 teams were invited to the 2011 Paris–Nice. The teams were:\n\nStages\n\nStage 1\n6 March 2011 – Houdan to Houdan,\n\nStage 2\n7 March 2011 – Montfort-l'Amaury to Amilly,\n\nStage 3\n8 March 2011 – Cosne-Cours-sur-Loire to Nuits-Saint-Georges,\n\nStage 4\n9 March 2011 – Crêches-sur-Saône to Belleville,\n\nStage 5\n10 March 2011 – Saint-Symphorien-sur-Coise to Vernoux-en-Vivarais,\n\nStage 6\n11 March 2011 – Rognes to Aix-en-Provence, , individual time trial (ITT)\n\nStage 7 \n12 March 2011 – Brignoles to Biot,\n\nStage 8\n13 March 2011 – Nice to Nice,\n\nClassification leadership progress\n\nReferences\n\nExternal links\n\nParis-Nice\nParis-Nice\nParis–Nice\nParis-Nice"
]
|
[
"Stephen Roche",
"Professional career",
"When did his professional career start?",
"Roche scored his first professional victory by beating Bernard Hinault in the Tour of Corsica.",
"Which team was he on?",
"I don't know.",
"What happened after the Tour of Corsica?",
"Less than a month later he won Paris-Nice",
"What happened after he won Paris-Nice?",
"illness following the descent from Mont Ventoux and finished his debut season with victories in the Tour de Corse,"
]
| C_4dbb3522d6d446418c233d5e3d4d4a90_1 | What happened in his second season? | 5 | What happened following the descent from Mont Ventoux in Stephen Roche's second season? | Stephen Roche | Roche scored his first professional victory by beating Bernard Hinault in the Tour of Corsica. Less than a month later he won Paris-Nice (where he became the first, and still the only, new pro to win Paris-Nice) despite illness following the descent from Mont Ventoux and finished his debut season with victories in the Tour de Corse, Circuit d'Indre-et-Loire and Etoile des Espoirs races with a second place behind Hinault in the Grand Prix des Nations. In total, his debut yielded 10 victories. In 1982 his best performance was second in the Amstel Gold Race behind Jan Raas, but his rise continued in 1983 with victories in the Tour de Romandie, Grand Prix de Wallonie, Etoile des Espoirs and Paris-Bourges. In the 1983 Tour de France, Roche finished 13th and he finished the 1983 season with a bronze medal in the world cycling championship at Alterheim in Zurich. In 1984, riding for La Redoute following contractual wrangles with Peugeot (the settlement of which led Roche to sport Peugeot shorts for two years before winning a court action against Velo Club de Paris Peugeot) he repeated his Tour de Romandie win, won Nice-Alassio, Subida a Arrate and was second in Paris-Nice. He finished 25th in that year's Tour de France. In 1985, Roche won the Criterium International, the Route du Sud and came second in Paris-Nice and third in Liege-Bastogne-Liege. In the 1985 Tour de France Roche won stage 18 to the Aubisque and finished on the podium in 3rd position, 4 minutes and 29 seconds behind winner Bernard Hinault. CANNOTANSWER | his best performance was second in the Amstel Gold Race behind Jan Raas, | Stephen Roche (; born 28 November 1959) is an Irish former professional road racing cyclist. In a 13-year professional career, he peaked in 1987, becoming the second of only two cyclists to win the Triple Crown of victories in the Tour de France and the Giro d'Italia general classification, plus the World road race championship, the first was Eddy Merckx. Roche's rise coincided with that of fellow Irishman Sean Kelly.
Although one of the finest cyclists of his generation and admired for his pedalling style, he struggled with knee injuries and never contended in the Grand Tours post-1987. He had 58 professional career wins. All of these wins still stand, despite Roche having been accused by an Italian judge of taking EPO in the later part of his career.
Early life and amateur career
On completion of his apprenticeship as a machinist in a Dublin dairy and following a successful amateur career in Ireland with the "Orwell Wheelers" club coached by Noel O'Neill of Dundrum (which included winning the Irish Junior Championship in 1977 and the Rás Tailteann in 1979), Roche joined the Athletic Club de Boulogne-Billancourt amateur team in Paris to prepare for the 1980 Olympic games in Moscow. Soon after his arrival Roche won the amateur Paris–Roubaix, escaping with Dirk Demol and sprinting to victory on the track at Roubaix. Roche was told by his directeur sportif that if he did not win he "would be sent home to Ireland that day".
He also finished on the podium at the early-season Paris–Ezy road race and finished 14th overall in the Sealink International stage race which was won by Bob Downs. However, a knee injury caused by a poorly fitted shoe plate led to a disappointing ride in Moscow, where he finished 45th. However, on return to France, August to October saw Roche win 19 races. That led to a contract with the Peugeot professional cycling team for 1981.
Professional career
Roche scored his first professional victory by beating Bernard Hinault in the Tour of Corsica. Less than a month later he won Paris–Nice (where he became the first, and still the only, new pro to win Paris–Nice) despite illness following the descent from Mont Ventoux and finished his debut season with victories in the Tour de Corse, Circuit d'Indre-et-Loire and Étoile des Espoirs races with a second place behind Hinault in the Grand Prix des Nations. In total, his debut yielded 10 victories.
In 1982 his best performance was second in the Amstel Gold Race behind Jan Raas, but his rise continued in 1983 with victories in the Tour de Romandie, Grand Prix de Wallonie, Étoile des Espoirs and Paris–Bourges. In the 1983 Tour de France, Roche finished 13th and he finished the 1983 season with a bronze medal in the world cycling championship at Alterheim in Zurich.
In 1984, riding for La Redoute following contractual wrangles with Peugeot (the settlement of which led Roche to sport Peugeot shorts for two years before winning a court action against Vélo Club de Paris Peugeot) he repeated his Tour de Romandie win, won Nice-Alassio, Subida a Arrate and was second in Paris–Nice. He finished 25th in that year's Tour de France.
In 1985, Roche won the Critérium International, the Route du Sud and came second in Paris–Nice and third in Liège–Bastogne–Liège. In the 1985 Tour de France Roche won stage 18 to the Aubisque and finished on the podium in 3rd position, 4 minutes and 29 seconds behind winner Bernard Hinault.
Chronic knee injury
In 1986 at a six-day event with UK professional Tony Doyle at Paris-Bercy, Roche crashed at speed and damaged his right knee. This destroyed his 1986 season at new team with little to show other than second in a stage of the Giro. Roche finished the 1986 Tour de France 48th, 1h 32m behind Greg LeMond, a Tour that Roche described as like "entering a dark tunnel" of pain.
The injury and then associated back problems recurred throughout his career (for example in the 1989 Tour Roche abandoned after banging the problem knee on his handlebars) and a series of operations appeared to only address direct or consequential symptoms of the core injury. Later non-surgical intervention under Dr.Hans-Wilhelm Müller-Wohlfahrt in Munich made some difference but the injury required constant care.
By the end of his career Roche was unable to compete at his best because of back problem which led to a loss of power in the left leg. In retirement he described riding the 1993 Tour de France "just for fun". He finished 13th, riding for Claudio Chiappucci).
1987 Triple Crown
In 1987, Roche had a tremendous season. In the spring, he won the Volta a la Comunitat Valenciana, taking a third victory in the Tour de Romandie and fourth place plus a stage win in Paris–Nice. He also finished second in Liège–Bastogne–Liège, the closest he got to winning a professional 'Monument' Classic. He blamed it on tactical naiveté and "riding like an amateur".
In the Giro d'Italia, Roche took three stage wins (including a team win with in the team time trial) en route to overall victory and became the first Giro victor from outside mainland Europe. Roche's stage wins that year in the Giro were stage 1b, the time trial downhill on the Poggio into San Remo and stage 22, a individual time trial into St. Vincent. Despite his stage wins, the race is remembered for the stage from Lido di Jesolo to Sappada, where Roche, contravening team orders, broke away alone early and despite being caught late in the race, had the strength to go with the counterattack and take the pink jersey from his teammate Roberto Visentini, who had been previously leading the classification. His behaviour in the stage gained him the tifosi's hatred. It was said the only member of his team that Roche could rely on not to ride against him was his domestique Eddy Schepers, although Roche recruited Panasonic riders and old ACBB teammates Robert Millar and Australian Phil Anderson to protect him with Schepers on the Marmolada climb (a day known as the "Marmolada Massacre").
Roche finished the Giro exhausted but favourite for the Tour de France. Following Bernard Hinault's retirement, Laurent Fignon's choppy form and with Greg LeMond injured following an accidental shooting while hunting, the 1987 Tour was open. It was also one of the most mountainous since the war, with 25 stages. Roche won the individual time trial stage 10 to Futuroscope and came second on stage 19.
On stage 21, crossing the Galibier and Madeleine and finishing at La Plagne, Roche attacked early, was away for several hours but was caught on the last climb. His nearest rival Pedro Delgado then attacked. Despite being almost one-and-a-half minutes in arrears midway up the last climb, Roche pulled the deficit back to 4 seconds. Roche collapsed and lost consciousness and was given oxygen. When asked when revived if he was okay, he replied "Oui, mais pas de femme toute de suite" ("yes, but I am not ready for a woman straight away").
The yellow jersey (worn by the leader of the general classification) changed hands several times with Charly Mottet, Roche, Jean François Bernard and Delgado all wearing it before Roche used the final time trial to overturn a half-minute gap and win the Tour by 40 seconds, which was at the time the second-narrowest margin (in 1968 Jan Janssen had beaten Herman Van Springel by 38 seconds; two years after Roche's victory, Greg LeMond beat Laurent Fignon by 8 seconds). Roche became only the fifth cyclist in history to win the Tour and the Giro in the same year. He was also the only Irishman to win the Tour de France. Irish Taoiseach Charles Haughey joined Roche on the podium on the Champs-Élysées.
Later that year, with victory at the World road race championship in Villach in Austria, Roche became only the second to win the Triple Crown of Cycling. Roche arrived with insufficient training although he worked during the 23-lap, undulating terrain for his teammate Sean Kelly and escaped in the race-winning break only while covering for his countryman. With Moreno Argentin in the following group, Kelly did not chase and as the break slowed and jostling for position began for a sprint, Roche attacked from the finish and crossed the line with metres to spare.
Victory in the season-long Super Prestige Pernod International competition was assured.
Roche was given the freedom of Dublin in late September 1987. Several days later the 1987 edition of the Nissan Classic began and Roche rode strongly to finish second behind Kelly.
Post-1987 career
At the close of 1987, Roche moved to Fagor MBK, bringing English riders Sean Yates and Malcolm Elliot, 1984 Tour de France King of the Mountains winner Robert Millar and domestique Eddy Schepers. The team was criticised for containing too many English speakers.
The 1988 season began badly with a recurrence of the knee injury and Roche began a gradual decline. In 1989 he again took second in Paris–Nice (making four second places) and the Setmana Catalana de Ciclisme. Roche finished the 1989 Giro d'Italia ninth behind Laurent Fignon. During the 1989 Tour de France, Roche withdrew due to his knee.
There were problems with his team in and he changed again. In 1990, racing for Histor Sigma, he won the Four Days of Dunkirk and 1991 riding for Roger De Vlaeminck's TonTon Tapis brought victories in the Setmana Catalana de Ciclisme and Critérium International. In the 1991 Tour de France, Roche missed the start for his team's Team time trial and was forced to withdraw due to controversially missing the time cut.
In the Grand Tours, he was ninth in the 1989 Giro, and won a stage of the 1992 Tour de France in appalling conditions into La Bourboule (again racing for but now in support of Claudio Chiappucci) and en route to a final ninth place. Riding the last edition of the Nissan Classic Tour of Ireland, Roche was in many breaks but finished fifth. A year later, he was again ninth in the 1993 Giro d'Italia and 13th in the 1993 Tour de France.
Roche retired at the end of an anonymous 1993 which yielded a single win, in the post-Tour de France criterium at Chateau Chinon.
Doping
In May 1990, Paul Kimmage – a former professional and teammate of Roche at Fagor, as well as a fellow Dubliner – published an account of life in the peloton. His book Rough Ride exposed drug use apparently endemic in the peloton but spoke in fawning terms about Roche. Despite this, publication resulted in a threat of litigation from Roche.
It was reported in the Rome newspaper, La Repubblica, in January 2000 that Francesco Conconi, a professor at the University of Ferrara involved with administering erythropoietin (EPO) to riders on the Carrera team with which Roche had some of his best years, had provided riders including Roche with EPO. Roche denied the allegations. This was further reported in The Irish Times several days later, Roche again denying EPO. In March 2000 the Italian judge Franca Oliva published a report detailing the investigation into sports doctors including Conconi. This official judicial investigation unequivocally found that Roche was administered EPO in 1993, his last year in the peloton.
Files from part of the investigation allegedly detail a number of aliases for Roche including Rocchi, Rossi, Rocca, Roncati, Righi and Rossini. In 2004 Judge Oliva again alleged that Roche had taken EPO during 1993 but due to the statute of limitations, neither Roche nor his teammates at Carrera would be prosecuted.
Personal life
Roche lives in Antibes on the Côte d'Azur. Roche remained involved in the sport by founding cycling camps in Majorca, by taking part in race organisations and working as a commentator on cycling events for Eurosport.
He has four children with his former wife Lydia; the couple divorced in 2004. One son, Nicolas Roche, was a professional until his retirement in 2021, and was the 2009 and 2016 Irish National Road Race Champion.
Stephen's brother Lawrence Roche was also a professional cyclist who completed his only Tour de France in 1991. They were teammates on the Tonton Tapis–GB team.
Roche's nephew Dan Martin is also a professional cyclist with Israel Start-Up Nation, and was the 2008 Irish National Road Race Champion.
Roche completed the 2008 ING New York Marathon in a time of 4:21:09.
Advertisements
Roche featured in a well-known Irish television advert for Galtee cheese in 1987, shortly after winning the Tour De France.
Career achievements
Major results
Main Source
Amateur
1978
1st Road race, National Junior Road Championships
1st Isle of Man - Manx Viking Trophy
1979
1st Irish National Elite Cyclo-Cross Championships
1st Overall Rás Tailteann
1st Stages 2 & 9a
1980
1st Paris–Roubaix Espoirs
1st GP de France (ITT)
2nd Road race, National Road Championships
2nd Overall Route de France
2nd Paris-Mantes
2nd Grand Prix des Nations (amateurs)
3rd Paris – Ezy Source
Professional
1981
1st Overall Paris–Nice
1st Stage 7b (ITT)
1st Overall Tour de Corse
1st Stage 2
1st Overall Étoile des Espoirs
1st Prologue
1st Stage 4b
1st Overall Tour d'Indre-et-Loire
1st Stage 3
1st Stage 7 (ITT) Tour de l'Avenir
2nd Grand Prix des Nations
2nd GP Monaco
3rd Critérium des As
3rd GP de Cannes
1982
2nd Amstel Gold Race
3rd Overall Four Days of Dunkirk
3rd Trofeo Baracchi
1983
1st Overall Tour de Romandie
1st Overall Étoile des Espoirs
1st Paris–Bourges
1st Grand Prix de Wallonie
2nd Tour du Haut Var
3rd Road race, UCI Road World Championships
3rd Overall Route du Sud
3rd GP Ouest–France
1984
1st Overall Tour de Romandie
1st Nice – Alassio
1st Subida a Arrate
2nd Overall Paris–Nice
1st Stage 6
2nd Overall Tour Méditerranéen
2nd Overall Tour de Picardie
3rd Overall Critérium International
3rd Grand Prix des Nations
1985
1st Overall Critérium International
1st Stage 3 (ITT)
1st Overall Tour Midi-Pyrénées
1st Stage 1a
Critérium du Dauphiné Libéré
1st Prologue & Stage 9 (ITT)
Tour of Ireland
1st Stages 3b & 4a
1st Bol d'or des Monédières
1st Critérium Loudéac
1st Critérium Les Ormes
2nd Overall Paris–Nice
1st Stage 7b (ITT)
3rd Overall Tour de France
1st Stage 18a
3rd Overall Tour Méditerranéen
3rd Liège–Bastogne–Liège
7th Road race, UCI Road World Championships
1986
2nd Cronostaffetta (TTT)
7th Trofeo Baracchi
1987
1st Road race, UCI Road World Championships
1st Overall Tour de France
1st Stages 2 (TTT) & 10 (ITT)
1st Overall Giro d'Italia
1st Combination classification
1st Stages 1b (ITT), 3 (TTT) & 22 (ITT)
1st Overall Tour de Romandie
1st Stages 5a & 5b (ITT)
1st Overall Volta a la Comunitat Valenciana
1st Stage 4 (ITT)
1st Stage 7b (ITT) Paris–Nice
1st Overall Super Prestige Pernod International
1st Critérium Dublin
1st Critérium Kortenhoef
1st Critérium Aalsmeer
2nd Overall Tour of Ireland
2nd Overall Critérium International
2nd Liège–Bastogne–Liège
1989
1st Overall Tour of the Basque Country
1st Stage 5b (ITT)
1st Stage 3a (ITT) Four Days of Dunkirk
2nd Overall Paris–Nice
1st Stage 7b (ITT)
3rd Overall Critérium International
9th Overall Giro d'Italia
1990
1st Overall Four Days of Dunkirk
1st Critérium Calais
2nd Overall Paris–Nice
1991
1st Overall Critérium International
1st Overall Setmana Catalana de Ciclisme
1st Critérium Brioude
1992
2nd Giro del Piemonte
2nd Critérium Vouneuil-sous-Biard
3rd Bol d'or des Monédières
9th Overall Tour de France
1st Stage 16
1993
1st Critérium Chateau-Chinon-Ville
9th Overall Giro d'Italia
General classification results timeline
References
Further reading
External links
Official Tour de France results for Stephen Roche
Stephen Roche's Cycling Camp in Majorca
Stephen Roche's Charity Cycling Race
Irish male cyclists
Tour de France winners
Irish Tour de France stage winners
Giro d'Italia winners
Irish Giro d'Italia stage winners
UCI Road World Champions (elite men)
Olympic cyclists of Ireland
Cyclists at the 1980 Summer Olympics
Doping cases in cycling
Sportspeople from County Dublin
1959 births
Living people
Cycling announcers
Alumni of Dublin Institute of Technology
Irish expatriates in France
RTÉ Sports Person of the Year winners
People from Dundrum, Dublin
Super Prestige Pernod winners | true | [
"Don Juan Manuel's Tales of Count Lucanor, in Spanish Libro de los ejemplos del conde Lucanor y de Patronio (Book of the Examples of Count Lucanor and of Patronio), also commonly known as El Conde Lucanor, Libro de Patronio, or Libro de los ejemplos (original Old Castilian: Libro de los enxiemplos del Conde Lucanor et de Patronio), is one of the earliest works of prose in Castilian Spanish. It was first written in 1335.\n\nThe book is divided into four parts. The first and most well-known part is a series of 51 short stories (some no more than a page or two) drawn from various sources, such as Aesop and other classical writers, and Arabic folktales.\n\nTales of Count Lucanor was first printed in 1575 when it was published at Seville under the auspices of Argote de Molina. It was again printed at Madrid in 1642, after which it lay forgotten for nearly two centuries.\n\nPurpose and structure\n\nA didactic, moralistic purpose, which would color so much of the Spanish literature to follow (see Novela picaresca), is the mark of this book. Count Lucanor engages in conversation with his advisor Patronio, putting to him a problem (\"Some man has made me a proposition...\" or \"I fear that such and such person intends to...\") and asking for advice. Patronio responds always with the greatest humility, claiming not to wish to offer advice to so illustrious a person as the Count, but offering to tell him a story of which the Count's problem reminds him. (Thus, the stories are \"examples\" [ejemplos] of wise action.) At the end he advises the Count to do as the protagonist of his story did.\n\nEach chapter ends in more or less the same way, with slight variations on: \"And this pleased the Count greatly and he did just so, and found it well. And Don Johán (Juan) saw that this example was very good, and had it written in this book, and composed the following verses.\" A rhymed couplet closes, giving the moral of the story.\n\nOrigin of stories and influence on later literature\nMany of the stories written in the book are the first examples written in a modern European language of various stories, which many other writers would use in the proceeding centuries. Many of the stories he included were themselves derived from other stories, coming from western and Arab sources.\n\nShakespeare's The Taming of the Shrew has the basic elements of Tale 35, \"What Happened to a Young Man Who Married a Strong and Ill-tempered Woman\".\n\nTale 32, \"What Happened to the King and the Tricksters Who Made Cloth\" tells the story that Hans Christian Andersen made popular as The Emperor's New Clothes.\n\nStory 7, \"What Happened to a Woman Named Truhana\", a version of Aesop's The Milkmaid and Her Pail, was claimed by Max Müller to originate in the Hindu cycle Panchatantra.\n\nTale 2, \"What happened to a good Man and his Son, leading a beast to market,\" is the familiar fable The miller, his son and the donkey.\n\nIn 2016, Baroque Decay released a game under the name \"The Count Lucanor\". As well as some protagonists' names, certain events from the books inspired past events in the game.\n\nThe stories\n\nThe book opens with a prologue which introduces the characters of the Count and Patronio. The titles in the following list are those given in Keller and Keating's 1977 translation into English. James York's 1868 translation into English gives a significantly different ordering of the stories and omits the fifty-first.\n\n What Happened to a King and His Favorite \n What Happened to a Good Man and His Son \n How King Richard of England Leapt into the Sea against the Moors\n What a Genoese Said to His Soul When He Was about to Die \n What Happened to a Fox and a Crow Who Had a Piece of Cheese in His Beak\n How the Swallow Warned the Other Birds When She Saw Flax Being Sown \n What Happened to a Woman Named Truhana \n What Happened to a Man Whose Liver Had to Be Washed \n What Happened to Two Horses Which Were Thrown to the Lion \n What Happened to a Man Who on Account of Poverty and Lack of Other Food Was Eating Bitter Lentils \n What Happened to a Dean of Santiago de Compostela and Don Yllán, the Grand Master of Toledo\n What Happened to the Fox and the Rooster \n What Happened to a Man Who Was Hunting Partridges \n The Miracle of Saint Dominick When He Preached against the Usurer \n What Happened to Lorenzo Suárez at the Siege of Seville \n The Reply that count Fernán González Gave to His Relative Núño Laynes \n What Happened to a Very Hungry Man Who Was Half-heartedly Invited to Dinner \n What Happened to Pero Meléndez de Valdés When He Broke His Leg \n What Happened to the Crows and the Owls \n What Happened to a King for Whom a Man Promised to Perform Alchemy \n What Happened to a Young King and a Philosopher to Whom his Father Commended Him \n What Happened to the Lion and the Bull \n How the Ants Provide for Themselves \n What Happened to the King Who Wanted to Test His Three Sons \n What Happened to the Count of Provence and How He Was Freed from Prison by the Advice of Saladin\n What Happened to the Tree of Lies \n What Happened to an Emperor and to Don Alvarfáñez Minaya and Their Wives \n What Happened in Granada to Don Lorenzo Suárez Gallinato When He Beheaded the Renegade Chaplain \n What Happened to a Fox Who Lay down in the Street to Play Dead \n What Happened to King Abenabet of Seville and Ramayquía His Wife \n How a Cardinal Judged between the Canons of Paris and the Friars Minor \n What Happened to the King and the Tricksters Who Made Cloth \n What Happened to Don Juan Manuel's Saker Falcon and an Eagle and a Heron \n What Happened to a Blind Man Who Was Leading Another \n What Happened to a Young Man Who Married a Strong and Ill-tempered Woman\n What Happened to a Merchant When He Found His Son and His Wife Sleeping Together \n What Happened to Count Fernán González with His Men after He Had Won the Battle of Hacinas \n What Happened to a Man Who Was Loaded down with Precious Stones and Drowned in the River \n What Happened to a Man and a Swallow and a Sparrow \n Why the Seneschal of Carcassonne Lost His Soul \n What Happened to a King of Córdova Named Al-Haquem \n What Happened to a Woman of Sham Piety \n What Happened to Good and Evil and the Wise Man and the Madman \n What Happened to Don Pero Núñez the Loyal, to Don Ruy González de Zavallos, and to Don Gutier Roiz de Blaguiello with Don Rodrigo the Generous \n What Happened to a Man Who Became the Devil's Friend and Vassal \n What Happened to a Philosopher who by Accident Went down a Street Where Prostitutes Lived \n What Befell a Moor and His Sister Who Pretended That She Was Timid \n What Happened to a Man Who Tested His Friends \n What Happened to the Man Whom They Cast out Naked on an Island When They Took away from Him the Kingdom He Ruled \n What Happened to Saladin and a Lady, the Wife of a Knight Who Was His Vassal \n What Happened to a Christian King Who Was Very Powerful and Haughty\n\nReferences\n\nNotes\n\nBibliography\n\n Sturm, Harlan\n\n Wacks, David\n\nExternal links\n\nThe Internet Archive provides free access to the 1868 translation by James York.\nJSTOR has the to the 1977 translation by Keller and Keating.\nSelections in English and Spanish (pedagogical edition) with introduction, notes, and bibliography in Open Iberia/América (open access teaching anthology)\n\n14th-century books\nSpanish literature\n1335 books",
"SCU: Serious Crash Unit is a New Zealand documentary series that aired on TV2. The show was cancelled after seven seasons.\n\nOverview\n\nSCU: Serious Crash Unit follows a New Zealand Police-based Auckland Serious Crash Unit as they investigate crashes and examine the evidence found at the crash scene to find out what happened, and what caused the accident.\n\nEpisodes\n\nSeason 1\n\nSeason 2\n\nSeason 3\n\nSeason 4\n\nSeason 5\n\nSeason 6\n\nSeason 7\n\nBroadcasting\nThe following list is ordered by the date of the series premiere.\n\nRatings\n\nAustralia\nIn Australia, SCU: Serious Crash Unit was watched by 1.4 million viewers in its premiere episode, and received similar ratings in its second week. In its premiere week in Australia, SCU: Serious Crash Unit was the third most watched program in the five mainland state capitals.\n\nThe second series premiered Monday 8:00pm at 1.2 million viewers, and ratings remained between 1.2 and 1.7 million viewers, following a strong lead in from Border Security: Australia's Front Line.\n\nReferences\n\nExternal links\nOfficial site\n\nNew Zealand documentary television series\n2001 New Zealand television series debuts\nDocumentary television series about policing\nTVNZ 2 original programming\nTVNZ 1 original programming\nTelevision series by Greenstone TV"
]
|
[
"Stephen Roche",
"Professional career",
"When did his professional career start?",
"Roche scored his first professional victory by beating Bernard Hinault in the Tour of Corsica.",
"Which team was he on?",
"I don't know.",
"What happened after the Tour of Corsica?",
"Less than a month later he won Paris-Nice",
"What happened after he won Paris-Nice?",
"illness following the descent from Mont Ventoux and finished his debut season with victories in the Tour de Corse,",
"What happened in his second season?",
"his best performance was second in the Amstel Gold Race behind Jan Raas,"
]
| C_4dbb3522d6d446418c233d5e3d4d4a90_1 | Did he have any wins after that? | 6 | Did Stephen Roche have any wins after his best performance of second in the Amstel Gold Race behind Jan Raas? | Stephen Roche | Roche scored his first professional victory by beating Bernard Hinault in the Tour of Corsica. Less than a month later he won Paris-Nice (where he became the first, and still the only, new pro to win Paris-Nice) despite illness following the descent from Mont Ventoux and finished his debut season with victories in the Tour de Corse, Circuit d'Indre-et-Loire and Etoile des Espoirs races with a second place behind Hinault in the Grand Prix des Nations. In total, his debut yielded 10 victories. In 1982 his best performance was second in the Amstel Gold Race behind Jan Raas, but his rise continued in 1983 with victories in the Tour de Romandie, Grand Prix de Wallonie, Etoile des Espoirs and Paris-Bourges. In the 1983 Tour de France, Roche finished 13th and he finished the 1983 season with a bronze medal in the world cycling championship at Alterheim in Zurich. In 1984, riding for La Redoute following contractual wrangles with Peugeot (the settlement of which led Roche to sport Peugeot shorts for two years before winning a court action against Velo Club de Paris Peugeot) he repeated his Tour de Romandie win, won Nice-Alassio, Subida a Arrate and was second in Paris-Nice. He finished 25th in that year's Tour de France. In 1985, Roche won the Criterium International, the Route du Sud and came second in Paris-Nice and third in Liege-Bastogne-Liege. In the 1985 Tour de France Roche won stage 18 to the Aubisque and finished on the podium in 3rd position, 4 minutes and 29 seconds behind winner Bernard Hinault. CANNOTANSWER | which led Roche to sport Peugeot shorts for two years before winning a court action against Velo Club de Paris Peugeot | Stephen Roche (; born 28 November 1959) is an Irish former professional road racing cyclist. In a 13-year professional career, he peaked in 1987, becoming the second of only two cyclists to win the Triple Crown of victories in the Tour de France and the Giro d'Italia general classification, plus the World road race championship, the first was Eddy Merckx. Roche's rise coincided with that of fellow Irishman Sean Kelly.
Although one of the finest cyclists of his generation and admired for his pedalling style, he struggled with knee injuries and never contended in the Grand Tours post-1987. He had 58 professional career wins. All of these wins still stand, despite Roche having been accused by an Italian judge of taking EPO in the later part of his career.
Early life and amateur career
On completion of his apprenticeship as a machinist in a Dublin dairy and following a successful amateur career in Ireland with the "Orwell Wheelers" club coached by Noel O'Neill of Dundrum (which included winning the Irish Junior Championship in 1977 and the Rás Tailteann in 1979), Roche joined the Athletic Club de Boulogne-Billancourt amateur team in Paris to prepare for the 1980 Olympic games in Moscow. Soon after his arrival Roche won the amateur Paris–Roubaix, escaping with Dirk Demol and sprinting to victory on the track at Roubaix. Roche was told by his directeur sportif that if he did not win he "would be sent home to Ireland that day".
He also finished on the podium at the early-season Paris–Ezy road race and finished 14th overall in the Sealink International stage race which was won by Bob Downs. However, a knee injury caused by a poorly fitted shoe plate led to a disappointing ride in Moscow, where he finished 45th. However, on return to France, August to October saw Roche win 19 races. That led to a contract with the Peugeot professional cycling team for 1981.
Professional career
Roche scored his first professional victory by beating Bernard Hinault in the Tour of Corsica. Less than a month later he won Paris–Nice (where he became the first, and still the only, new pro to win Paris–Nice) despite illness following the descent from Mont Ventoux and finished his debut season with victories in the Tour de Corse, Circuit d'Indre-et-Loire and Étoile des Espoirs races with a second place behind Hinault in the Grand Prix des Nations. In total, his debut yielded 10 victories.
In 1982 his best performance was second in the Amstel Gold Race behind Jan Raas, but his rise continued in 1983 with victories in the Tour de Romandie, Grand Prix de Wallonie, Étoile des Espoirs and Paris–Bourges. In the 1983 Tour de France, Roche finished 13th and he finished the 1983 season with a bronze medal in the world cycling championship at Alterheim in Zurich.
In 1984, riding for La Redoute following contractual wrangles with Peugeot (the settlement of which led Roche to sport Peugeot shorts for two years before winning a court action against Vélo Club de Paris Peugeot) he repeated his Tour de Romandie win, won Nice-Alassio, Subida a Arrate and was second in Paris–Nice. He finished 25th in that year's Tour de France.
In 1985, Roche won the Critérium International, the Route du Sud and came second in Paris–Nice and third in Liège–Bastogne–Liège. In the 1985 Tour de France Roche won stage 18 to the Aubisque and finished on the podium in 3rd position, 4 minutes and 29 seconds behind winner Bernard Hinault.
Chronic knee injury
In 1986 at a six-day event with UK professional Tony Doyle at Paris-Bercy, Roche crashed at speed and damaged his right knee. This destroyed his 1986 season at new team with little to show other than second in a stage of the Giro. Roche finished the 1986 Tour de France 48th, 1h 32m behind Greg LeMond, a Tour that Roche described as like "entering a dark tunnel" of pain.
The injury and then associated back problems recurred throughout his career (for example in the 1989 Tour Roche abandoned after banging the problem knee on his handlebars) and a series of operations appeared to only address direct or consequential symptoms of the core injury. Later non-surgical intervention under Dr.Hans-Wilhelm Müller-Wohlfahrt in Munich made some difference but the injury required constant care.
By the end of his career Roche was unable to compete at his best because of back problem which led to a loss of power in the left leg. In retirement he described riding the 1993 Tour de France "just for fun". He finished 13th, riding for Claudio Chiappucci).
1987 Triple Crown
In 1987, Roche had a tremendous season. In the spring, he won the Volta a la Comunitat Valenciana, taking a third victory in the Tour de Romandie and fourth place plus a stage win in Paris–Nice. He also finished second in Liège–Bastogne–Liège, the closest he got to winning a professional 'Monument' Classic. He blamed it on tactical naiveté and "riding like an amateur".
In the Giro d'Italia, Roche took three stage wins (including a team win with in the team time trial) en route to overall victory and became the first Giro victor from outside mainland Europe. Roche's stage wins that year in the Giro were stage 1b, the time trial downhill on the Poggio into San Remo and stage 22, a individual time trial into St. Vincent. Despite his stage wins, the race is remembered for the stage from Lido di Jesolo to Sappada, where Roche, contravening team orders, broke away alone early and despite being caught late in the race, had the strength to go with the counterattack and take the pink jersey from his teammate Roberto Visentini, who had been previously leading the classification. His behaviour in the stage gained him the tifosi's hatred. It was said the only member of his team that Roche could rely on not to ride against him was his domestique Eddy Schepers, although Roche recruited Panasonic riders and old ACBB teammates Robert Millar and Australian Phil Anderson to protect him with Schepers on the Marmolada climb (a day known as the "Marmolada Massacre").
Roche finished the Giro exhausted but favourite for the Tour de France. Following Bernard Hinault's retirement, Laurent Fignon's choppy form and with Greg LeMond injured following an accidental shooting while hunting, the 1987 Tour was open. It was also one of the most mountainous since the war, with 25 stages. Roche won the individual time trial stage 10 to Futuroscope and came second on stage 19.
On stage 21, crossing the Galibier and Madeleine and finishing at La Plagne, Roche attacked early, was away for several hours but was caught on the last climb. His nearest rival Pedro Delgado then attacked. Despite being almost one-and-a-half minutes in arrears midway up the last climb, Roche pulled the deficit back to 4 seconds. Roche collapsed and lost consciousness and was given oxygen. When asked when revived if he was okay, he replied "Oui, mais pas de femme toute de suite" ("yes, but I am not ready for a woman straight away").
The yellow jersey (worn by the leader of the general classification) changed hands several times with Charly Mottet, Roche, Jean François Bernard and Delgado all wearing it before Roche used the final time trial to overturn a half-minute gap and win the Tour by 40 seconds, which was at the time the second-narrowest margin (in 1968 Jan Janssen had beaten Herman Van Springel by 38 seconds; two years after Roche's victory, Greg LeMond beat Laurent Fignon by 8 seconds). Roche became only the fifth cyclist in history to win the Tour and the Giro in the same year. He was also the only Irishman to win the Tour de France. Irish Taoiseach Charles Haughey joined Roche on the podium on the Champs-Élysées.
Later that year, with victory at the World road race championship in Villach in Austria, Roche became only the second to win the Triple Crown of Cycling. Roche arrived with insufficient training although he worked during the 23-lap, undulating terrain for his teammate Sean Kelly and escaped in the race-winning break only while covering for his countryman. With Moreno Argentin in the following group, Kelly did not chase and as the break slowed and jostling for position began for a sprint, Roche attacked from the finish and crossed the line with metres to spare.
Victory in the season-long Super Prestige Pernod International competition was assured.
Roche was given the freedom of Dublin in late September 1987. Several days later the 1987 edition of the Nissan Classic began and Roche rode strongly to finish second behind Kelly.
Post-1987 career
At the close of 1987, Roche moved to Fagor MBK, bringing English riders Sean Yates and Malcolm Elliot, 1984 Tour de France King of the Mountains winner Robert Millar and domestique Eddy Schepers. The team was criticised for containing too many English speakers.
The 1988 season began badly with a recurrence of the knee injury and Roche began a gradual decline. In 1989 he again took second in Paris–Nice (making four second places) and the Setmana Catalana de Ciclisme. Roche finished the 1989 Giro d'Italia ninth behind Laurent Fignon. During the 1989 Tour de France, Roche withdrew due to his knee.
There were problems with his team in and he changed again. In 1990, racing for Histor Sigma, he won the Four Days of Dunkirk and 1991 riding for Roger De Vlaeminck's TonTon Tapis brought victories in the Setmana Catalana de Ciclisme and Critérium International. In the 1991 Tour de France, Roche missed the start for his team's Team time trial and was forced to withdraw due to controversially missing the time cut.
In the Grand Tours, he was ninth in the 1989 Giro, and won a stage of the 1992 Tour de France in appalling conditions into La Bourboule (again racing for but now in support of Claudio Chiappucci) and en route to a final ninth place. Riding the last edition of the Nissan Classic Tour of Ireland, Roche was in many breaks but finished fifth. A year later, he was again ninth in the 1993 Giro d'Italia and 13th in the 1993 Tour de France.
Roche retired at the end of an anonymous 1993 which yielded a single win, in the post-Tour de France criterium at Chateau Chinon.
Doping
In May 1990, Paul Kimmage – a former professional and teammate of Roche at Fagor, as well as a fellow Dubliner – published an account of life in the peloton. His book Rough Ride exposed drug use apparently endemic in the peloton but spoke in fawning terms about Roche. Despite this, publication resulted in a threat of litigation from Roche.
It was reported in the Rome newspaper, La Repubblica, in January 2000 that Francesco Conconi, a professor at the University of Ferrara involved with administering erythropoietin (EPO) to riders on the Carrera team with which Roche had some of his best years, had provided riders including Roche with EPO. Roche denied the allegations. This was further reported in The Irish Times several days later, Roche again denying EPO. In March 2000 the Italian judge Franca Oliva published a report detailing the investigation into sports doctors including Conconi. This official judicial investigation unequivocally found that Roche was administered EPO in 1993, his last year in the peloton.
Files from part of the investigation allegedly detail a number of aliases for Roche including Rocchi, Rossi, Rocca, Roncati, Righi and Rossini. In 2004 Judge Oliva again alleged that Roche had taken EPO during 1993 but due to the statute of limitations, neither Roche nor his teammates at Carrera would be prosecuted.
Personal life
Roche lives in Antibes on the Côte d'Azur. Roche remained involved in the sport by founding cycling camps in Majorca, by taking part in race organisations and working as a commentator on cycling events for Eurosport.
He has four children with his former wife Lydia; the couple divorced in 2004. One son, Nicolas Roche, was a professional until his retirement in 2021, and was the 2009 and 2016 Irish National Road Race Champion.
Stephen's brother Lawrence Roche was also a professional cyclist who completed his only Tour de France in 1991. They were teammates on the Tonton Tapis–GB team.
Roche's nephew Dan Martin is also a professional cyclist with Israel Start-Up Nation, and was the 2008 Irish National Road Race Champion.
Roche completed the 2008 ING New York Marathon in a time of 4:21:09.
Advertisements
Roche featured in a well-known Irish television advert for Galtee cheese in 1987, shortly after winning the Tour De France.
Career achievements
Major results
Main Source
Amateur
1978
1st Road race, National Junior Road Championships
1st Isle of Man - Manx Viking Trophy
1979
1st Irish National Elite Cyclo-Cross Championships
1st Overall Rás Tailteann
1st Stages 2 & 9a
1980
1st Paris–Roubaix Espoirs
1st GP de France (ITT)
2nd Road race, National Road Championships
2nd Overall Route de France
2nd Paris-Mantes
2nd Grand Prix des Nations (amateurs)
3rd Paris – Ezy Source
Professional
1981
1st Overall Paris–Nice
1st Stage 7b (ITT)
1st Overall Tour de Corse
1st Stage 2
1st Overall Étoile des Espoirs
1st Prologue
1st Stage 4b
1st Overall Tour d'Indre-et-Loire
1st Stage 3
1st Stage 7 (ITT) Tour de l'Avenir
2nd Grand Prix des Nations
2nd GP Monaco
3rd Critérium des As
3rd GP de Cannes
1982
2nd Amstel Gold Race
3rd Overall Four Days of Dunkirk
3rd Trofeo Baracchi
1983
1st Overall Tour de Romandie
1st Overall Étoile des Espoirs
1st Paris–Bourges
1st Grand Prix de Wallonie
2nd Tour du Haut Var
3rd Road race, UCI Road World Championships
3rd Overall Route du Sud
3rd GP Ouest–France
1984
1st Overall Tour de Romandie
1st Nice – Alassio
1st Subida a Arrate
2nd Overall Paris–Nice
1st Stage 6
2nd Overall Tour Méditerranéen
2nd Overall Tour de Picardie
3rd Overall Critérium International
3rd Grand Prix des Nations
1985
1st Overall Critérium International
1st Stage 3 (ITT)
1st Overall Tour Midi-Pyrénées
1st Stage 1a
Critérium du Dauphiné Libéré
1st Prologue & Stage 9 (ITT)
Tour of Ireland
1st Stages 3b & 4a
1st Bol d'or des Monédières
1st Critérium Loudéac
1st Critérium Les Ormes
2nd Overall Paris–Nice
1st Stage 7b (ITT)
3rd Overall Tour de France
1st Stage 18a
3rd Overall Tour Méditerranéen
3rd Liège–Bastogne–Liège
7th Road race, UCI Road World Championships
1986
2nd Cronostaffetta (TTT)
7th Trofeo Baracchi
1987
1st Road race, UCI Road World Championships
1st Overall Tour de France
1st Stages 2 (TTT) & 10 (ITT)
1st Overall Giro d'Italia
1st Combination classification
1st Stages 1b (ITT), 3 (TTT) & 22 (ITT)
1st Overall Tour de Romandie
1st Stages 5a & 5b (ITT)
1st Overall Volta a la Comunitat Valenciana
1st Stage 4 (ITT)
1st Stage 7b (ITT) Paris–Nice
1st Overall Super Prestige Pernod International
1st Critérium Dublin
1st Critérium Kortenhoef
1st Critérium Aalsmeer
2nd Overall Tour of Ireland
2nd Overall Critérium International
2nd Liège–Bastogne–Liège
1989
1st Overall Tour of the Basque Country
1st Stage 5b (ITT)
1st Stage 3a (ITT) Four Days of Dunkirk
2nd Overall Paris–Nice
1st Stage 7b (ITT)
3rd Overall Critérium International
9th Overall Giro d'Italia
1990
1st Overall Four Days of Dunkirk
1st Critérium Calais
2nd Overall Paris–Nice
1991
1st Overall Critérium International
1st Overall Setmana Catalana de Ciclisme
1st Critérium Brioude
1992
2nd Giro del Piemonte
2nd Critérium Vouneuil-sous-Biard
3rd Bol d'or des Monédières
9th Overall Tour de France
1st Stage 16
1993
1st Critérium Chateau-Chinon-Ville
9th Overall Giro d'Italia
General classification results timeline
References
Further reading
External links
Official Tour de France results for Stephen Roche
Stephen Roche's Cycling Camp in Majorca
Stephen Roche's Charity Cycling Race
Irish male cyclists
Tour de France winners
Irish Tour de France stage winners
Giro d'Italia winners
Irish Giro d'Italia stage winners
UCI Road World Champions (elite men)
Olympic cyclists of Ireland
Cyclists at the 1980 Summer Olympics
Doping cases in cycling
Sportspeople from County Dublin
1959 births
Living people
Cycling announcers
Alumni of Dublin Institute of Technology
Irish expatriates in France
RTÉ Sports Person of the Year winners
People from Dundrum, Dublin
Super Prestige Pernod winners | false | [
"Through the end of the 2020 season in professional football, only twelve coaches have won 200 career regular season victories.\n\nKey\n\nCoaches with 200 regular season wins\n\nOther Facts\nEach coach has won at least one NFL Championship, Grey Cups, or Super Bowl, except Marty Schottenheimer, who had not won any. Despite not winning any championships in the NFL, Schottenheimer did win the UFL Championship in 2011, coaching the Virginia Destroyers; he also won an AFL Championship (pre-merger) in 1965 as a player with the Buffalo Bills. Schottenheimer also remains the only non-active coach to not be inducted into any Hall of Fames. The only other exception is Kurtiss Riggs who has only coached indoor American football, but between the Indoor Football League, United Indoor Football (which merged with another league to form the IFL), and National Indoor Football League with the Sioux Falls Storm he has won eleven championships and appeared in fifteen. This includes a six season championship win streak and ten season appearance streak. The Storm achieved a 40 consecutive game wins streak with Riggs as the head coach, including four undefeated seasons. Riggs also had five wins officially fortified from the team's record due to insurance violations in 2009. Since 2021, he has been inducted into the Indoor Football League Hall of Fame while still actively coaching. \n\nThere have been nine NFL coaches who have won 200 total games, this excludes Bud Grant and Paul Brown due to their total wins included from other professional leagues. The two coaches who have won 200 total games, but not 200 regular season games, are Chuck Noll and Dan Reeves. Noll only coached the Pittsburgh Steelers (1969–1991), winning four Super Bowls and having a prolific Hall of Fame career. He had 193 total wins in the regular season with 209 wins, 156 losses, and one tie overall (.572). Reeves coached the Denver Broncos (1981–1992), New York Giants (1993–1996), and Atlanta Falcons (1997–2003). In the regular season he had 190 wins; however, in total he had 201 wins, 174 losses, and two ties (.535). Despite not having 200 career regular season wins as a head coach, Reeves coached in four Super Bowls, losing all of them. He did, however, play and coach as an assistant for the Dallas Cowboys, winning two Super Bowls at each position. Along with Marty Schottenheimer, Reeves is the only other coach to have over 200 total wins and not be inducted into the Pro Football Hall of Fame. Several other NFL coaches had a little less than 190 total wins, but the only coach with more than 189 wins and less than 200 wins is Chuck Knox. Knox had 186 regular season wins with 193 total wins. He coached the Los Angeles Rams (1973–1977), Buffalo Bills (1978–1982), Seattle Seahawks (1983–1991), and Los Angeles Rams (1992–1994) again, with no Super Bowl appearances or Hall of Fame nomination despite three AP NFL Coach of the Year Awards.\n\nBud Grant and Marv Levy are the only coaches to lead teams to both the Grey Cup Finals and the Super Bowl, both have been inducted into the Pro Football Hall of Fame and Canadian Football Hall of Fame.\n\nTim Marcum is the winningest and most successful coach in Arena Football League history. During the regular season, Marcum resulted in a 184–87 (.679) record and 28–12 (.700) in the post-season, which totals to 212–99 (.682) overall. He coached the Denver Dynamite (1987), Detroit Drive (1988–1989, 1991–1993), and the Tampa Bay Storm (1995–2010). Marcum has been inducted into the Arena Football Hall of Fame. During his time as a head coach, Marcum coached in eleven ArenaBowls, winning seven of them. Other AFL coaches who came close to 200 wins were Darren Arbet with 188 overall wins (169 regular season wins) and Mike Hohensee with 170 overall wins (158 regular season wins), both are also in the AFL Hall of Fame.\n\nSee also\n List of National Football League head coach wins leaders\n List of Canadian Football League head coaches by wins\n\nReferences\n\nAmerican football-related lists",
"Airil Rizman, also known as Airil Rizman Zahari, (born 22 April 1978) is a Malaysian professional golfer.\n\nRizman was born in Kuala Lumpur. He was the Malaysian national amateur champion in 1998, 1999 and 2001 and a team gold medalist at the 2001 Southeast Asian Games. He was won several titles on the Malaysian PGA Tour, where he topped the order of merit in 2005. He first played on the Asian Tour in 2003, but did not have any top ten finishes through 2006. However, in 2007, he won the first event of the Asian Tour season, the Pakistan Open.\n\nProfessional wins (9)\n\nAsian Tour wins (1)\n\nOther wins (8)\n8 Malaysian PGA wins\n\nTeam appearances\nAmateur\nEisenhower Trophy (representing Malaysia): 1998, 2000\nBonallack Trophy (representing Asia/Pacific): 2000\n\nExternal links\n\nAsian Tour golfers\nMalaysian male golfers\nSoutheast Asian Games medalists in golf\nSoutheast Asian Games gold medalists for Malaysia\nSoutheast Asian Games silver medalists for Malaysia\nCompetitors at the 2001 Southeast Asian Games\nMalaysian people of Malay descent\nMalaysian Muslims\nSportspeople from Kuala Lumpur\n1978 births\nLiving people"
]
|
[
"Robert Mitchum",
"Film noir"
]
| C_1b646414938c45e983367b2ad6a17667_0 | what is the film noir? | 1 | What is film noir? | Robert Mitchum | Mitchum was initially known for his work in film noir. His first foray into the genre was a supporting role in the 1944 B-movie When Strangers Marry, about newlyweds and a New York City serial killer. Undercurrent, another of Mitchum's early noir films, featured him playing against type as a troubled, sensitive man entangled in the affairs of his brother (Robert Taylor) and his brother's suspicious wife (Katharine Hepburn). John Brahm's The Locket (1946) featured Mitchum as bitter ex-boyfriend to Laraine Day's femme fatale. Raoul Walsh's Pursued (1947) combined Western and noir styles, with Mitchum's character attempting to recall his past and find those responsible for killing his family. Crossfire (also 1947) featured Mitchum as a member of a group of World War II soldiers, one of whom kills a Jewish man. It featured themes of anti-Semitism and the failings of military training. The film, directed by Edward Dmytryk, earned five Academy Award nominations. Following Crossfire, Mitchum starred in Out of the Past (also called Build My Gallows High), directed by Jacques Tourneur and featuring the cinematography of Nicholas Musuraca. Mitchum played Jeff Markham, a small-town gas-station owner and former investigator, whose unfinished business with gambler Whit Sterling (Kirk Douglas) and femme fatale Kathie Moffett (Jane Greer) comes back to haunt him. On September 1, 1948, after a string of successful films for RKO, Mitchum and actress Lila Leeds were arrested for possession of marijuana. The arrest was the result of a sting operation designed to capture other Hollywood partiers, as well, but Mitchum and Leeds did not receive the tipoff. After serving a week at the county jail (he described the experience to a reporter as being "like Palm Springs, but without the riff-raff"), Mitchum spent 43 days (February 16 to March 30) at a Castaic, California, prison farm. Life photographers were permitted to take photos of him mopping up in his prison uniform. The arrest inspired the exploitation film She Shoulda Said No! (1949), which starred Leeds. The conviction was later overturned by the Los Angeles court and district attorney's office on January 31, 1951, after being exposed as a setup. Whether despite, or because of, Mitchum's troubles with the law and his studio, his films released immediately after his arrest were box-office hits. Rachel and the Stranger (1948) featured Mitchum in a supporting role as a mountain man competing for the hand of Loretta Young, the indentured servant and wife of William Holden. In the film adaptation of John Steinbeck's novella The Red Pony (1949), he appeared as a trusted cowhand to a ranching family. He returned to film noir in The Big Steal (also 1949), where he joined Jane Greer in an early Don Siegel film. CANNOTANSWER | Mitchum was initially known for his work in film noir. | Robert Charles Durman Mitchum (August 6, 1917 – July 1, 1997) was an American actor, director, author, poet, composer, and singer. He rose to prominence
with an Academy Award nomination for the Best Supporting Actor for The Story of G.I. Joe (1945), followed by starring in several classic film noirs. His acting is generally considered a forerunner of the antiheroes prevalent in film during the 1950s and 1960s. His best-known films include Thirty Seconds Over Tokyo (1944), Out of the Past (1947), River of No Return (1954), The Night of the Hunter (1955), Thunder Road (1958), Cape Fear (1962), El Dorado (1966), Ryan's Daughter (1970) and The Friends of Eddie Coyle (1973). He is also known for his television role as U.S. Navy Captain Victor "Pug" Henry in the epic miniseries The Winds of War (1983) and sequel War and Remembrance (1988).
Mitchum is rated number 23 on the American Film Institute's list of the greatest male stars of classic American cinema.
Early life
Mitchum was born in Bridgeport, Connecticut, on August 6, 1917, into a Scots-Irish/Norwegian Methodist family. His father, James Thomas Mitchum, was a shipyard and railroad worker of Scots-Irish descent, and his mother, Ann Harriet Gunderson, was a Norwegian immigrant and sea captain's daughter. His older sister, Annette (known as Julie Mitchum during her acting career), was born in 1914. James was crushed to death in a railyard accident in Charleston, South Carolina, in February 1919. His widow was awarded a government pension, and soon realized she was pregnant. Her third child, John, was born in September of that year.
Ann married Lieutenant Hugh "The Major" Cunningham Morris, a former Royal Naval Reserve officer. They had a daughter, Carol Morris, born July 1927 on the family farm in Delaware. When all of the children were old enough to attend school, Ann found employment as a linotype operator for the Bridgeport Post.
As a child, Mitchum was known as a prankster, often involved in fistfights and mischief. In 1929 his mother sent the twelve-year-old to live with her parents in Felton, Delaware; the boy was promptly expelled from middle school for scuffling with the principal. A year later he moved in with his older sister in Manhattan's Hell's Kitchen. After being expelled from Haaren High School he left his sister and traveled throughout the country, hopping freight cars and taking a number of jobs, including ditch-digging for the Civilian Conservation Corps and professional boxing. He later stated that at age 14 in Savannah, Georgia, he was arrested for vagrancy and put in a local chain gang. By Mitchum's account, he escaped and returned to his family in Delaware. During this time, while recovering from injuries that nearly cost him a leg, he met Dorothy Spence, whom he would later marry. He soon went back on the road, eventually "riding the rails" to California.
Acting
Getting established
In the mid-1930s Julie Mitchum moved to the West Coast in the hope of acting in movies, and the rest of the Mitchum family soon followed her to Long Beach, California. Robert arrived in 1936. During this time, Mitchum worked as a ghostwriter for astrologer Carroll Righter. Julie convinced him to join the local theater guild with her. At The Players Guild of Long Beach, Mitchum worked as a stagehand and occasional bit-player in company productions. He also wrote several short pieces which were performed by the guild. According to Lee Server's biography (Robert Mitchum: Baby, I Don't Care), Mitchum put his talent for poetry to work writing song lyrics and monologues for Julie's nightclub performances.
In 1940, he returned to Delaware to marry Dorothy Spence, and they moved back to California. He gave up his artistic pursuits at the birth of their first child James, nicknamed Josh, and two more children, Chris and Petrine, followed. Mitchum found steady employment as a machine operator during World War II with the Lockheed Aircraft Corporation, but the noise of the machinery damaged his hearing. He also suffered a nervous breakdown (which resulted in temporary vision problems), due to job-related stress.
He then sought work as a film actor, performing initially as an extra and in small speaking parts. His agent got him an interview with Harry Sherman, the producer of Paramount's Hopalong Cassidy western film series, which starred William Boyd; Mitchum was hired to play minor villainous roles in several films in the series during 1942 and 1943. He went uncredited as a soldier in the 1943 film The Human Comedy starring Mickey Rooney. His first on-screen credit came in 1943 as a Marine private in the Randolph Scott war film Gung Ho! Mitchum continued to find work as an extra and supporting actor in numerous productions for various studios.
After impressing director Mervyn LeRoy during the making of Thirty Seconds Over Tokyo, Mitchum signed a seven-year contract with RKO Radio Pictures. He was groomed for B-Western stardom in a series of Zane Grey adaptations. Following the moderately successful Western Nevada, RKO lent Mitchum to United Artists for a prominent supporting actor role in The Story of G.I. Joe (1945). In the film, he portrayed war-weary officer Bill Walker (based on Captain Henry T. Waskow), who remains resolute despite the troubles he faces. The film, which followed the life of an ordinary soldier through the eyes of journalist Ernie Pyle (played by Burgess Meredith), became an instant critical and commercial success. Shortly after filming, Mitchum was drafted into the United States Army, serving at Fort MacArthur, California, as a medic. At the 1946 Academy Awards, The Story of G.I. Joe was nominated for four Oscars, including Mitchum's only nomination for an Academy Award, for Best Supporting Actor. He finished the year with a Western (West of the Pecos) and a story of returning Marine veterans (Till the End of Time), before migrating to a genre that came to define Mitchum's career and screen persona: film noir.
Film noir
Mitchum was initially known for his work in film noir. His first foray into the genre was a supporting role in the 1944 B-movie When Strangers Marry, about newlyweds and a New York City serial killer. Another early noir, Undercurrent, featured him as a troubled, sensitive man entangled in the affairs of his tycoon brother (Robert Taylor) and his brother's suspicious wife (Katharine Hepburn). John Brahm's The Locket (1946) featured Mitchum as a bitter ex-boyfriend to Laraine Day's femme fatale. Raoul Walsh's Pursued (1947) combined the Western and noir genres, with Mitchum's character attempting to recall his past and find those responsible for killing his family. Crossfire (also 1947) featured Mitchum as a member of a group of returned World War II soldiers embroiled in a murder investigation for an act committed by an anti-Semite in their ranks. The film, directed by Edward Dmytryk and starring Robert Ryan and Robert Young, earned five Academy Award nominations.
Following Crossfire, Mitchum starred in Out of the Past (also called Build My Gallows High), directed by Jacques Tourneur and featuring the cinematography of Nicholas Musuraca. In his best-known noir role, Mitchum played Jeff Markham, a small-town gas-station owner and former investigator, whose unfinished business with gambler Whit Sterling (Kirk Douglas) and femme fatale Kathie Moffett (Jane Greer) comes back to haunt him.
On September 1, 1948, after a string of successful films for RKO, Mitchum and actress Lila Leeds were arrested for possession of marijuana. The bust was the result of a sting operation designed to capture other Hollywood partiers as well, but Mitchum and Leeds did not receive the tipoff. After serving a week at the county jail (he described the experience to a reporter as being "like Palm Springs, but without the riff-raff"), Mitchum spent 43 days (February 16 to March 30) at a Castaic, California, prison farm. Life photographers were permitted to take photos of him mopping up in his prison uniform. The arrest inspired the exploitation film She Shoulda Said No! (1949), which starred Leeds. Mitchum's conviction was later overturned by the Los Angeles court and district attorney's office on January 31, 1951, after being exposed as a setup.
Despite Mitchum's legal troubles and problems without his studio, his popularity was not harmed and films released immediately after his arrest were box-office hits. Rachel and the Stranger (1948) featured Mitchum in a supporting role as a mountain man competing for the hand of Loretta Young, the indentured servant and wife of William Holden. In the film adaptation of John Steinbeck's novella The Red Pony (1949), he appeared as a trusted cowhand to a ranching family. He returned to in The Big Steal (also 1949), where he reunited with Jane Greer in an early Don Siegel film.
Mainstream stardom in the 1950s and 1960s
In Where Danger Lives (1950), Mitchum played a doctor who comes between a mentally unbalanced Faith Domergue and cuckolded Claude Rains. The Racket was a noir remake of the early crime drama The Racket (1928), and featured Mitchum as a police captain fighting corruption in his precinct. The Josef von Sternberg film, Macao (1952), had Mitchum as a victim of mistaken identity at an exotic resort casino, playing opposite Jane Russell. Otto Preminger's Angel Face was the first of three collaborations between Mitchum and British stage actress Jean Simmons. Mitchum plays an ambulance driver who allows a murderously insane heiress to fatally seduce him.
Mitchum was fired from Blood Alley (1955) over his conduct, reportedly having thrown the film's transportation manager into San Francisco Bay. According to Sam O'Steen's memoir Cut to the Chase, Mitchum showed up on-set after a night of drinking and tore apart a studio office when they did not have a car ready for him. Mitchum walked off the set of the third day of filming Blood Alley, claiming he could not work with the director. Because Mitchum was showing up late and behaving erratically, producer John Wayne, after failing to obtain Humphrey Bogart as a replacement, took over the role himself.
Following a series of conventional Westerns and , as well as the Marilyn Monroe adventure vehicle River of No Return (1954), Mitchum appeared in The Night of the Hunter (1955), Charles Laughton's only film as director. Based on a novel by Davis Grubb, the thriller starred Mitchum as a monstrous criminal posing as a preacher to find money hidden by his cellmate in the man's home. His performance as Reverend Harry Powell is considered by many to be one of the best of his career. Stanley Kramer's melodrama Not as a Stranger, also released in 1955, was a box-office hit. The film starred Mitchum against type, as an idealistic young doctor, who marries an older nurse (Olivia de Havilland), only to question his morality many years later. However, the film was not well received, with most critics pointing out that Mitchum, Frank Sinatra, and Lee Marvin were all too old for their characters. Olivia de Havilland received top billing over Mitchum and Sinatra.
On March 8, 1955, Mitchum formed DRM (Dorothy and Robert Mitchum) Productions to produce five films for United Artists; four films were produced. The first film was Bandido (1956). Following a succession of average Westerns and the poorly received Foreign Intrigue (1956), Mitchum starred in the first of three films with Deborah Kerr. The John Huston war drama Heaven Knows, Mr. Allison, cast Mitchum as a Marine corporal shipwrecked on a Pacific Island with a nun, Sister Angela (Deborah Kerr), as his sole companion. In this character study they struggle with the elements, the Japanese garrison, and their growing feelings for one-another. The film was nominated for two Academy Awards, including Best Actress and Best Adapted Screenplay. For his role, Mitchum was nominated for a BAFTA Award for Best Foreign Actor. In the World War II submarine classic The Enemy Below (1956), Mitchum played the captain of a US Navy destroyer who matches wits with a wily German U-boat captain Curt Jurgens, who starred with Mitchum again in the 1962 World War II epic The Longest Day.
Thunder Road (1958), the second DRM Production, was loosely based on an incident in which a driver transporting moonshine was said to have fatally crashed on Kingston Pike in Knoxville, Tennessee, somewhere between Bearden Hill and Morrell Road. According to Metro Pulse writer Jack Renfro, the incident occurred in 1952 and may have been witnessed by James Agee, who passed the story on to Mitchum. He starred, produced, co-wrote the screenplay, and is rumored to have directed much of the film. It costars his son James, as his on-screen brother, in a role originally intended for Elvis Presley. Mitchum also co-wrote (with Don Raye) the theme song, "The Ballad of Thunder Road".
Mitchum returned to Mexico for The Wonderful Country (1959) with Julie London, and Ireland for A Terrible Beauty/The Night Fighters for the last of his DRM Productions.
Mitchum and Kerr reunited for the Fred Zinnemann film The Sundowners (1960), playing an Australia husband and wife struggling in the sheep industry during the Depression. The film received five Oscar nominations, and Mitchum earned the year's National Board of Review award for Best Actor for his performance. The award also recognized his performance in the Vincente Minnelli Western drama Home from the Hill (also 1960). He was teamed with former leading ladies Kerr and Simmons, as well as Cary Grant, for the Stanley Donen comedy The Grass Is Greener the same year.
Mitchum's performance as the menacing rapist Max Cady in Cape Fear (1962) brought him further renown for playing cold, predatory characters. The 1960s were marked by a number of lesser films, including the Shirley MacLaine comedy-musical What a Way to Go! (1964), the Howard Hawks Western El Dorado (1967), a remake of Rio Bravo (1959) (in which Mitchum took over Dean Martin's role of the drunk who comes to the aid of John Wayne's character), and another WWII epic, Anzio (1968). He teamed with Martin again for the 1968 Western 5 Card Stud, playing a homicidal preacher.
Later work
Mitchum made a departure from his typical screen persona with the 1970 David Lean film Ryan's Daughter, in which he starred as Charles Shaughnessy, a mild-mannered schoolmaster in World War I–era Ireland. At the time of filming Mitchum's recent films had been critical and commercial flops, and he was going through a personal crisis that had him considering suicide. Screenwriter Robert Bolt told him that he could do so after the film was finished and that he would personally pay for his burial. Though the film was nominated for four Academy Awards (winning two) and Mitchum was much publicized as a contender for a Best Actor nomination, he was not nominated. George C. Scott won the award for his powerful performance in Patton, a project Mitchum had rejected as glorifying war.
The 1970s featured Mitchum in a number of well-received crime dramas. The Friends of Eddie Coyle (1973) had the actor playing an aging Boston hoodlum caught between the Feds and his criminal friends. Sydney Pollack's The Yakuza (1974) transplanted the typical story arc to the Japanese underworld. He also appeared in 1976's Midway about a crucial 1942 World War II battle. Mitchum's stint as an aging Philip Marlowe in the Raymond Chandler adaptation Farewell, My Lovely (1975) (a re-make of 1944's Murder My Sweet) was sufficiently well received by audiences and critics for him to reprise the role in 1978's The Big Sleep, a remake of the 1946 film of the same title.
In 1982, Mitchum played Coach Delaney in the film adaptation of playwright/actor Jason Miller's 1973 Pulitzer Prize-winning play That Championship Season.
At the premiere for That Championship Season, Mitchum, while intoxicated, assaulted a female reporter and threw a basketball that he was holding (a prop from the film) at a female photographer from Time magazine, injuring her neck and knocking out two of her teeth. She sued him for $30 million for damages. The suit eventually "cost him his salary from the film".
That Championship Season may have indirectly led to another debacle for Mitchum several months later. In a February 1983 Esquire interview, he made several racist, anti-Semitic and sexist statements, including, when asked if the Holocaust occurred, responded "so the Jews say." Following the widespread negative response, he apologized a month later, saying that his statements were "prankish" and "foreign to my principle". He claimed that the problem had begun when he recited a racist monologue from his role in That Championship Season, the writer believing the words to be his own. Mitchum, who claimed that he had only reluctantly agreed to the interview, then decided to "string... along" the writer with even more incendiary statements.
Mitchum expanded to television work with the 1983 miniseries The Winds of War. The big-budget Herman Wouk story aired on ABC, starring Mitchum as naval officer "Pug" Henry and Victoria Tennant as Pamela Tudsbury, and examined the events leading up to America's involvement in World War II. He returned to the role in 1988's War and Remembrance, which continued the story through the end of the war.
In 1984, Mitchum entered the Betty Ford Center in Palm Springs, California for treatment of alcoholism.
He played George Hazard's father-in-law in the 1985 miniseries North and South, which also aired on ABC.
Mitchum starred opposite Wilford Brimley in the 1986 made-for-TV movie Thompson's Run. A hardened con (Mitchum), being transferred from a federal penitentiary to a Texas institution to finish a life sentence as a habitual criminal, is freed at gunpoint by his niece (played by Kathleen York). The cop (Brimley) who was transferring him, and has been the con's lifelong friend and adversary for over 30 years, vows to catch the twosome.
In 1987, Mitchum was the guest-host on Saturday Night Live, where he played private eye Philip Marlowe for the last time in the parody sketch, "Death Be Not Deadly". The show ran a short comedy film he made (written and directed by his daughter, Trina) called Out of Gas, a mock sequel to Out of the Past. (Jane Greer reprised her role from the original film.) He also was in Bill Murray's 1988 comedy film, Scrooged.
In 1991, Mitchum was given a lifetime achievement award from the National Board of Review of Motion Pictures, in the same year he received the Telegatto award and in 1992 the Cecil B. DeMille Award from the Golden Globe Awards.
Mitchum continued to act in films until the mid-1990s, such as in Jim Jarmusch's Dead Man, and he narrated the Western Tombstone. He also appeared, in contrast to his role as the antagonist in the original, as a protagonist police detective in Martin Scorsese's remake of Cape Fear, but the actor gradually slowed his workload. His last film appearance was a small but pivotal role in the television biographical film, James Dean: Race with Destiny, playing Giant director George Stevens. His last starring role was in the 1995 Norwegian movie Pakten.
Music
One of the lesser-known aspects of Mitchum's career was his foray into music as a singer. Critic Greg Adams writes, "Unlike most celebrity vocalists, Robert Mitchum actually had musical talent." Mitchum's voice was often used instead of that of a professional singer when his character sang in his films. Notable productions featuring Mitchum's own singing voice included Rachel and the Stranger, River of No Return, and The Night of the Hunter. After hearing traditional calypso music and meeting artists such as Mighty Sparrow and Lord Invader while filming Heaven Knows, Mr. Allison in the Caribbean islands of Tobago, he recorded Calypso – is like so ... in March 1957. On the album, released through Capitol Records, he emulated the calypso sound and style, even adopting the style's unique pronunciations and slang. A year later, he recorded a song he had written for Thunder Road, titled "The Ballad of Thunder Road". The country-style song became a modest hit for Mitchum, reaching number 69 on the Billboard Pop Singles chart. The song was included as a bonus track on a successful reissue of Calypso ... and helped market the film to a wider audience.
Although Mitchum continued to use his singing voice in his film work, he waited until 1967 to record his follow-up record, That Man, Robert Mitchum, Sings. The album, released by Nashville-based Monument Records, took him further into country music, and featured songs similar to "The Ballad of Thunder Road". "Little Old Wine Drinker Me", the first single, was a top-10 hit at country radio, reaching number nine there, and crossed over onto mainstream radio, where it peaked at number 96. Its follow-up, "You Deserve Each Other", also charted on the Billboard Country Singles chart. He sang the title song to the Western Young Billy Young, made in 1969.
Albums
Singles
Personal life
Mitchum's sons, James and Christopher, were actors, and his daughter, Petrine Day Mitchum, a writer. His grandchildren, Bentley Mitchum and Carrie Mitchum, are actors, as was his younger brother, John, who died in 2001. Another grandson, Kian, is a successful model.
A lifelong heavy smoker, Mitchum died on July 1, 1997, in Santa Barbara, California, due to complications of lung cancer and emphysema. He was five weeks shy of his 80th birthday. His body was cremated and his ashes scattered at sea, though there is a plot marker in the Odd Fellows Cemetery in Delaware. He was survived by his wife of 57 years, Dorothy Mitchum (May 2, 1919 – April 12, 2014, Santa Barbara, California, aged 94).
Reception, acting style and legacy
Mitchum is regarded by some critics as one of the finest actors of the Golden Age of Hollywood. Roger Ebert called him "the soul of film noir". Mitchum, however, was self-effacing; in an interview with Barry Norman for the BBC about his contribution to cinema, Mitchum stopped Norman in mid-flow and in his typical nonchalant style, said, "Look, I have two kinds of acting. One on a horse and one off a horse. That's it." He had also succeeded in annoying some of his fellow actors by voicing his puzzlement at those who viewed the profession as challenging and hard work. He is quoted as having said in the Norman interview that acting was actually very simple and that his job was to "show up on time, know his lines, hit his marks, and go home". Mitchum had a habit of marking most of his appearances in the script with the letters "n.a.r.", which meant "no action required", and also possessed a photographic memory that allowed him to remember lines with relative ease.
Mitchum's subtle and understated acting style often garnered him criticism of sleepwalking through his performances. The directors who worked with him however had nothing but praise for him. Charles Laughton, who directed him in The Night of the Hunter, considered Mitchum to be one of the best actors in the world and believed that he would have been the greatest Macbeth. John Huston felt that Mitchum was on the same pedestal of actors like Marlon Brando, Richard Burton and Laurence Olivier. Howard Hawks praised Mitchum for being a hard worker, labeling the actor a "fraud" for pretending to not care about acting. Robert De Niro, Clint Eastwood, Michael Madsen and Mark Rylance have cited Mitchum as one of their favorite actors.
AFI's 100 Years...100 Stars lists Mitchum as the 23rd-greatest male star of classic Hollywood cinema. AFI also recognized his performances as the menacing rapist Max Cady and Reverend Harry Powell as the 28th and 29th greatest screen villains of all time as part of AFI's 100 Years...100 Heroes and Villains. He provided the voice of the famous American Beef Council commercials that touted "Beef ... it's what's for dinner", from 1992 until his death.
A "Mitchum's Steakhouse" operated in Trappe, Maryland, where Mitchum and his family lived from 1959 to 1965.
Documentaries
2017 : James Stewart/Robert Mitchum: The Two Faces of America directed by Gregory Monro
Filmography
References
Citations
General sources
Mitchum, John. Them Ornery Mitchum Boys: The Adventures of Robert and John Mitchum. Pacifica, California: Creatures at Large, 1989. .
Olson, James and Randy Roberts. John Wayne: American. Lincoln, Nebraska: Bison Books, 1997. .
O'Steen, Sam. Cut to the Chase: Forty-Five Years of Editing America's Favorite Movies. Los Angeles: Michael Wiese Productions, 2002. .
Roberts, Jerry. Mitchum: In His Own Words. New York: Limelight Editions, 2000. .
Server, Lee. Robert Mitchum: "Baby, I Don't Care". New York: St Martin's Press, 2001. .
Sound, Owen. TCM Film Guide: Leading Men: The 50 Most Unforgettable Actors of the Studio Era. San Francisco, California: Chronicle Books, 2006. .
Tomkies, Mike. The Robert Mitchum Story: "It Sure Beats Working". New York: Ballantine Books, 1972. .
External links
Profile at Turner Classic Movies
Photographs and literature
1917 births
1997 deaths
20th Century Fox contract players
20th-century American male actors
20th-century American memoirists
20th-century American male singers
20th-century American singers
American country singer-songwriters
American male composers
American male film actors
American male poets
American Methodists
American baritones
American people of Scotch-Irish descent
American people of Norwegian descent
California Republicans
Capitol Records artists
Cecil B. DeMille Award Golden Globe winners
Civilian Conservation Corps people
Combat medics
Connecticut Republicans
Deaths from cancer in California
Deaths from emphysema
Deaths from lung cancer
Haaren High School alumni
Male actors from Bridgeport, Connecticut
Male Western (genre) film actors
Military personnel from Bridgeport, Connecticut
Military personnel from Connecticut
Mitchum family
Monument Records artists
Overturned convictions in the United States
People from Hell's Kitchen, Manhattan
RKO Pictures contract players
United States Army personnel of World War II
United States Army soldiers
Singer-songwriters from New York (state) | true | [
"The depictions of women in film noir come in a range of archetypes and stock characters, including the alluring femme fatale. A femme fatale ( or ; , literally \"lethal woman\"), is a prevalent and indicating theme to the style of film noir.\n\nThe main archetypes of female roles in film noir can be divided into two categories: the girl-next-door and the femme fatale.\n\nThe girl-next-door \nHer character archetype is depicted as ordinary, often overshadowed by the femme fatale. She is known to be honest, innocent, and sweet. She tends to meet traditional American standards of beauty and social expectations of how to behave. The girl-next-door often does refer to the fact she lives right next door to the male protagonist, possibly having known him their entire lives.\nHer character represents the love that has always been there but unnoticed by the male protagonist. She is often overlooked and dismissed as a love interest by him. It is usually only when the male protagonist has gone through a series of obstacles with the femme fatale, that the truth is revealed that the girl-next-door has been there all along, ready to love the male protagonist. An example of this is in Cathy O’Donnell’s portrayal of Keechie in They Live by Night (Ray, 1948).\n\nThe femme fatale \nThe femme fatale, considered by many the central figure of film noir, is mysterious and enchanting. She is known for using her mind and body strategically in order to seduce men into compromising and often deadly situations. Her character is independent with undoubting sexual confidence and a laconic personality. The femme fatale does things by her own book, rejecting social expectations even if it deems her as immoral and/or bad.\n\nTactics \nA main tactic of the femme fatale is to use her feminine body and sexual traits as a way to achieve some hidden agenda.\n\nThe femme fatale is a prevalent and indicating theme to the style of film noir. The archetype of the femme fatale often pushes back on the male protagonist, posing as the obstacle to the protagonist in reaching their goals. In understanding dramatic structure, the dramatic action reveals the deep desires and goals of the characters who move the plot ahead. Therefore, the objectives and obstacles create complications and unraveling, the femme fatale is the epitome of complication and unraveling. A characteristic of the femme fatale is she often uses her sexuality and beauty to undermine another character in order to get what she wants.\n\nSome of the most notorious femme fatales in classical film noir is Barbara Stanwyck as Phyllis Dietrichson in Double Indemnity (Wilder, 1944), Rita Hayworth in Gilda (1946), and Lana Turner in The Postman Always Rings Twice (1946).\n\nHistory\n\nMyths and legends of femme fatale \nThe archetype femme fatale has historically been a culturally pervasive influence on literature and art. Femme fatale has roots in mythology and legends through figures such as Eve from the Biblical creation narrative and the original sin story of Adam and Eve; mythological figures such as Circe and Clytemnestra; folklore, in figures like succubi and yuki-onna; and even history, in an understanding of figures like Cleopatra, Lucrezia Borgia, and Mata Hari. In these representations, the femme fatale possesses an allure that is able to enchant and hypnotize her victim, sometimes even through a metaphysical or supernatural force; akin to a witch, seductress, or enchantress. What seems to motivate the femme fatale is an insatiable desire for power and control, often over a man, weaponizing her charm and beauty while using lies, deception, and coercion.\n\nCultural context\n\nWorld War II \nThough World War II is not often present in the plot lines of film noir, scholars suggest that the war period is important to the configuration of gender identity and gendered hierarchies in American society. During wartime, women entered what previously were male-dominated job positions, earning higher wages than ever before. Postwar retrenchment intended to restore jobs back to men and shift women to lower-paid positions or domestic roles. Sylvia Harvey examined these social shifts in regards to film noir and writes, “These economic changes forced certain changes in the traditional organization of the family; and the underlying sense of horror and uncertainty in film noir may be seen, in part, as an indirect response to this forcible assault on traditional family structures and the traditional and conservative values which they embodied.” \n\nWorld War II marked a significant turning point of the feminist movement. Societal gender roles were starting to be examined and this is believed to be a wave that swept of 1940’s cinema leading to exploring how women function in film, a movement that critics and scholars could both agree pushed the expected boundaries of female characters.\n\nPatriarchy \nPatriarchy is another social system being examined in film noir. Malu Barroso, author at High On Films writes, \"As the patriarchal social order tried to reinstate itself when the war was over. Within the stylistic norms of the noir genre, the rough lighting and the gloomy visual clues of danger reflects the unsettling, broken domestic order, highlighting to the audience the tension in the home and the women’s role in triggering the narrative.\" Female characters in film noir represent a disturbance to male protagonists and the heteronormative patriarchal order, one that loses its control over women and the female character gains her own power.\n\nPostwar film noir of the 1940's is believed to be a direct reflection of the dark reality of a postwar culture and the reality of the re-oppressed woman. Financial independence and freedom through the workforce was being taken back by the patriarchal system.\n\nFeminist theory and criticism \n\nFilm Noir is understood as not a genre but an adaptable film style. As film scholar Raymond Durgnat points out, film noir is a point in film history, not a genre. Influenced by German Expressionism film, Hollywood took the aesthetics of forties and fifties, as dark, urban landscapes, fused with crime and mystery. How the women were portrayed in film noir helped to fuel the narrative with plot twists and deception.\n\nMuch feminist interest comes from understanding how the female form is being used and what that represents. Feminist theory within the context of film noir often seeks to understand themes such as gender identity, sexuality, in relation to representation and power. Theorists and scholars explore both the problematic and beneficial implications to portrayals of women in film noir.\n\nJaney Place writes in Women in Film Noir that “film noir is a male fantasy, as is most of our art.” She explains that noir’s female villains are central to the frame in the stylistic choices of the genre. She goes on to write that it is, “one of the few periods of film in which women are active, not static symbols, are intelligent and powerful, if destructively so, and derive power, not weakness, from their sexuality.”\n\nMary Ann Doane writes, “She is not the subject of feminism but a symptom of male fears about feminism. Nevertheless, the representation – like any representation –is not totally under the control of its producers and, once disseminated, comes to take on a life of its own.”\n\nKate Stables writes that “the postmodern fatal woman is a creature of excess and spectacle, like the films she decorates.”\n\nNotable films\n\nFilms of the 40s- 50s \nMurder My Sweet (Edward Dmytryk, 1944)\n\nLaura (Otto Preminger, 1944)\n\nMildred Pierce\n\nThe Maltese Falcon\n\nScarlet Street\n\nKiss Me Deadly\n\nDetour (Edgar G Ulmer, 1945)\n\nGilda (1946)\n\nThe Postman Always Rings Twice (1946)\n\nThe Lady from Shanghai (1947)\n\nNeo-Film Noir 70s- contemporary \nKlute (1971)\n\nAcross 110th Street (1972)\n\nChinatown (1974)\n\nTaxi Driver (1976)\n\nBody Heat\n\nFatal Attraction (1987)\n\nBasic Instinct (1992)\n\nWild Things (1998)\n\nBrick\n\nGone Girl (2014)\n\nAtomic Blonde (2017)\n\nRed Sparrow (2018)\n\nOcean’s Eight (2018)\n\nHustlers (2019)\n\nReferences \n\nFilm noir",
"Eddie Muller is an American writer based in San Francisco. He is known for writing books about movies, particularly film noir, and is the host of Noir Alley on Turner Classic Movies (TCM).\n\nEarly life and education\nMuller is the son of a famed San Francisco boxing writer of the same name.\n\nMuller studied with filmmaker George Kuchar at the San Francisco Art Institute in the late 1970s.\n\nCareer\n\nMuller is the founder and president of the Film Noir Foundation and is co-programmer of the San Francisco Noir City film festival. Muller is considered a noir expert and is called on to write and talk about the film genre, notably on wry commentary tracks for Fox's film noir series of DVDs and introducing Turner Classic Movies's weekly \"Noir Alley\" movie block. Every Saturday, Noir Alley visits classic noir films featuring some of the best set-ups and shake downs involving iconic antiheroes and the unforgettable, fatalistic dames they fall for.\n\nLaura Sheppard, director of events at Mechanics Institute, dubbed him \"The Czar of Noir\" (as recounted by Eddie Muller in conversation with Angie Coiro on the In Deep radio show recorded March 20, 2019, at Dragon Theater in Redwood City, California; the quote is often misattributed to the novelist James Ellroy).\n\nMuller based the character of Billy Nichols in his period crime novel The Distance after his father. The novel was named the Best First Novel of 2002 by the Private Eye Writers of America. Billy Nichols returned in the 2003 novel Shadow Boxer.\n\nBooks\n\nNonfiction\n(with Daniel Faris) Grindhouse: The Forbidden World of \"Adults Only\" Cinema (1996); \nDark City: The Lost World of Film Noir (1998); \nDark City Dames: The Wicked Women of Film Noir (2001); \nThe Art Of Noir: The Posters & Graphics From The Classical Era Of Film Noir (2004); \n(with Tab Hunter) Tab Hunter Confidential: The Making of a Movie Star (2005); \nGun Crazy: The Origin of American Outlaw Cinema (2014); \nDark City: The Lost World of Film Noir (Revised and Expanded Edition) (2021);\n\nFiction\nThe Distance (2002); \nShadow Boxer (2003);\n\nReferences\n\nExternal links\nOfficial web site\nFilm Noir Foundation\n\nInterview with Matthew Sorrento at Bright Lights Film Journal\nInterview with Rudy Cecera for Screen Comment\n\nAmerican film historians\nAmerican male non-fiction writers\nFilm theorists\nLiving people\nPlace of birth missing (living people)\nYear of birth missing (living people)\nAmerican film critics\nShamus Award winners"
]
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[
"Robert Mitchum",
"Film noir",
"what is the film noir?",
"Mitchum was initially known for his work in film noir."
]
| C_1b646414938c45e983367b2ad6a17667_0 | what was his role | 2 | What was Robert Mitchum's role in film noir? | Robert Mitchum | Mitchum was initially known for his work in film noir. His first foray into the genre was a supporting role in the 1944 B-movie When Strangers Marry, about newlyweds and a New York City serial killer. Undercurrent, another of Mitchum's early noir films, featured him playing against type as a troubled, sensitive man entangled in the affairs of his brother (Robert Taylor) and his brother's suspicious wife (Katharine Hepburn). John Brahm's The Locket (1946) featured Mitchum as bitter ex-boyfriend to Laraine Day's femme fatale. Raoul Walsh's Pursued (1947) combined Western and noir styles, with Mitchum's character attempting to recall his past and find those responsible for killing his family. Crossfire (also 1947) featured Mitchum as a member of a group of World War II soldiers, one of whom kills a Jewish man. It featured themes of anti-Semitism and the failings of military training. The film, directed by Edward Dmytryk, earned five Academy Award nominations. Following Crossfire, Mitchum starred in Out of the Past (also called Build My Gallows High), directed by Jacques Tourneur and featuring the cinematography of Nicholas Musuraca. Mitchum played Jeff Markham, a small-town gas-station owner and former investigator, whose unfinished business with gambler Whit Sterling (Kirk Douglas) and femme fatale Kathie Moffett (Jane Greer) comes back to haunt him. On September 1, 1948, after a string of successful films for RKO, Mitchum and actress Lila Leeds were arrested for possession of marijuana. The arrest was the result of a sting operation designed to capture other Hollywood partiers, as well, but Mitchum and Leeds did not receive the tipoff. After serving a week at the county jail (he described the experience to a reporter as being "like Palm Springs, but without the riff-raff"), Mitchum spent 43 days (February 16 to March 30) at a Castaic, California, prison farm. Life photographers were permitted to take photos of him mopping up in his prison uniform. The arrest inspired the exploitation film She Shoulda Said No! (1949), which starred Leeds. The conviction was later overturned by the Los Angeles court and district attorney's office on January 31, 1951, after being exposed as a setup. Whether despite, or because of, Mitchum's troubles with the law and his studio, his films released immediately after his arrest were box-office hits. Rachel and the Stranger (1948) featured Mitchum in a supporting role as a mountain man competing for the hand of Loretta Young, the indentured servant and wife of William Holden. In the film adaptation of John Steinbeck's novella The Red Pony (1949), he appeared as a trusted cowhand to a ranching family. He returned to film noir in The Big Steal (also 1949), where he joined Jane Greer in an early Don Siegel film. CANNOTANSWER | His first foray into the genre was a supporting role in the 1944 B-movie When Strangers Marry, | Robert Charles Durman Mitchum (August 6, 1917 – July 1, 1997) was an American actor, director, author, poet, composer, and singer. He rose to prominence
with an Academy Award nomination for the Best Supporting Actor for The Story of G.I. Joe (1945), followed by starring in several classic film noirs. His acting is generally considered a forerunner of the antiheroes prevalent in film during the 1950s and 1960s. His best-known films include Thirty Seconds Over Tokyo (1944), Out of the Past (1947), River of No Return (1954), The Night of the Hunter (1955), Thunder Road (1958), Cape Fear (1962), El Dorado (1966), Ryan's Daughter (1970) and The Friends of Eddie Coyle (1973). He is also known for his television role as U.S. Navy Captain Victor "Pug" Henry in the epic miniseries The Winds of War (1983) and sequel War and Remembrance (1988).
Mitchum is rated number 23 on the American Film Institute's list of the greatest male stars of classic American cinema.
Early life
Mitchum was born in Bridgeport, Connecticut, on August 6, 1917, into a Scots-Irish/Norwegian Methodist family. His father, James Thomas Mitchum, was a shipyard and railroad worker of Scots-Irish descent, and his mother, Ann Harriet Gunderson, was a Norwegian immigrant and sea captain's daughter. His older sister, Annette (known as Julie Mitchum during her acting career), was born in 1914. James was crushed to death in a railyard accident in Charleston, South Carolina, in February 1919. His widow was awarded a government pension, and soon realized she was pregnant. Her third child, John, was born in September of that year.
Ann married Lieutenant Hugh "The Major" Cunningham Morris, a former Royal Naval Reserve officer. They had a daughter, Carol Morris, born July 1927 on the family farm in Delaware. When all of the children were old enough to attend school, Ann found employment as a linotype operator for the Bridgeport Post.
As a child, Mitchum was known as a prankster, often involved in fistfights and mischief. In 1929 his mother sent the twelve-year-old to live with her parents in Felton, Delaware; the boy was promptly expelled from middle school for scuffling with the principal. A year later he moved in with his older sister in Manhattan's Hell's Kitchen. After being expelled from Haaren High School he left his sister and traveled throughout the country, hopping freight cars and taking a number of jobs, including ditch-digging for the Civilian Conservation Corps and professional boxing. He later stated that at age 14 in Savannah, Georgia, he was arrested for vagrancy and put in a local chain gang. By Mitchum's account, he escaped and returned to his family in Delaware. During this time, while recovering from injuries that nearly cost him a leg, he met Dorothy Spence, whom he would later marry. He soon went back on the road, eventually "riding the rails" to California.
Acting
Getting established
In the mid-1930s Julie Mitchum moved to the West Coast in the hope of acting in movies, and the rest of the Mitchum family soon followed her to Long Beach, California. Robert arrived in 1936. During this time, Mitchum worked as a ghostwriter for astrologer Carroll Righter. Julie convinced him to join the local theater guild with her. At The Players Guild of Long Beach, Mitchum worked as a stagehand and occasional bit-player in company productions. He also wrote several short pieces which were performed by the guild. According to Lee Server's biography (Robert Mitchum: Baby, I Don't Care), Mitchum put his talent for poetry to work writing song lyrics and monologues for Julie's nightclub performances.
In 1940, he returned to Delaware to marry Dorothy Spence, and they moved back to California. He gave up his artistic pursuits at the birth of their first child James, nicknamed Josh, and two more children, Chris and Petrine, followed. Mitchum found steady employment as a machine operator during World War II with the Lockheed Aircraft Corporation, but the noise of the machinery damaged his hearing. He also suffered a nervous breakdown (which resulted in temporary vision problems), due to job-related stress.
He then sought work as a film actor, performing initially as an extra and in small speaking parts. His agent got him an interview with Harry Sherman, the producer of Paramount's Hopalong Cassidy western film series, which starred William Boyd; Mitchum was hired to play minor villainous roles in several films in the series during 1942 and 1943. He went uncredited as a soldier in the 1943 film The Human Comedy starring Mickey Rooney. His first on-screen credit came in 1943 as a Marine private in the Randolph Scott war film Gung Ho! Mitchum continued to find work as an extra and supporting actor in numerous productions for various studios.
After impressing director Mervyn LeRoy during the making of Thirty Seconds Over Tokyo, Mitchum signed a seven-year contract with RKO Radio Pictures. He was groomed for B-Western stardom in a series of Zane Grey adaptations. Following the moderately successful Western Nevada, RKO lent Mitchum to United Artists for a prominent supporting actor role in The Story of G.I. Joe (1945). In the film, he portrayed war-weary officer Bill Walker (based on Captain Henry T. Waskow), who remains resolute despite the troubles he faces. The film, which followed the life of an ordinary soldier through the eyes of journalist Ernie Pyle (played by Burgess Meredith), became an instant critical and commercial success. Shortly after filming, Mitchum was drafted into the United States Army, serving at Fort MacArthur, California, as a medic. At the 1946 Academy Awards, The Story of G.I. Joe was nominated for four Oscars, including Mitchum's only nomination for an Academy Award, for Best Supporting Actor. He finished the year with a Western (West of the Pecos) and a story of returning Marine veterans (Till the End of Time), before migrating to a genre that came to define Mitchum's career and screen persona: film noir.
Film noir
Mitchum was initially known for his work in film noir. His first foray into the genre was a supporting role in the 1944 B-movie When Strangers Marry, about newlyweds and a New York City serial killer. Another early noir, Undercurrent, featured him as a troubled, sensitive man entangled in the affairs of his tycoon brother (Robert Taylor) and his brother's suspicious wife (Katharine Hepburn). John Brahm's The Locket (1946) featured Mitchum as a bitter ex-boyfriend to Laraine Day's femme fatale. Raoul Walsh's Pursued (1947) combined the Western and noir genres, with Mitchum's character attempting to recall his past and find those responsible for killing his family. Crossfire (also 1947) featured Mitchum as a member of a group of returned World War II soldiers embroiled in a murder investigation for an act committed by an anti-Semite in their ranks. The film, directed by Edward Dmytryk and starring Robert Ryan and Robert Young, earned five Academy Award nominations.
Following Crossfire, Mitchum starred in Out of the Past (also called Build My Gallows High), directed by Jacques Tourneur and featuring the cinematography of Nicholas Musuraca. In his best-known noir role, Mitchum played Jeff Markham, a small-town gas-station owner and former investigator, whose unfinished business with gambler Whit Sterling (Kirk Douglas) and femme fatale Kathie Moffett (Jane Greer) comes back to haunt him.
On September 1, 1948, after a string of successful films for RKO, Mitchum and actress Lila Leeds were arrested for possession of marijuana. The bust was the result of a sting operation designed to capture other Hollywood partiers as well, but Mitchum and Leeds did not receive the tipoff. After serving a week at the county jail (he described the experience to a reporter as being "like Palm Springs, but without the riff-raff"), Mitchum spent 43 days (February 16 to March 30) at a Castaic, California, prison farm. Life photographers were permitted to take photos of him mopping up in his prison uniform. The arrest inspired the exploitation film She Shoulda Said No! (1949), which starred Leeds. Mitchum's conviction was later overturned by the Los Angeles court and district attorney's office on January 31, 1951, after being exposed as a setup.
Despite Mitchum's legal troubles and problems without his studio, his popularity was not harmed and films released immediately after his arrest were box-office hits. Rachel and the Stranger (1948) featured Mitchum in a supporting role as a mountain man competing for the hand of Loretta Young, the indentured servant and wife of William Holden. In the film adaptation of John Steinbeck's novella The Red Pony (1949), he appeared as a trusted cowhand to a ranching family. He returned to in The Big Steal (also 1949), where he reunited with Jane Greer in an early Don Siegel film.
Mainstream stardom in the 1950s and 1960s
In Where Danger Lives (1950), Mitchum played a doctor who comes between a mentally unbalanced Faith Domergue and cuckolded Claude Rains. The Racket was a noir remake of the early crime drama The Racket (1928), and featured Mitchum as a police captain fighting corruption in his precinct. The Josef von Sternberg film, Macao (1952), had Mitchum as a victim of mistaken identity at an exotic resort casino, playing opposite Jane Russell. Otto Preminger's Angel Face was the first of three collaborations between Mitchum and British stage actress Jean Simmons. Mitchum plays an ambulance driver who allows a murderously insane heiress to fatally seduce him.
Mitchum was fired from Blood Alley (1955) over his conduct, reportedly having thrown the film's transportation manager into San Francisco Bay. According to Sam O'Steen's memoir Cut to the Chase, Mitchum showed up on-set after a night of drinking and tore apart a studio office when they did not have a car ready for him. Mitchum walked off the set of the third day of filming Blood Alley, claiming he could not work with the director. Because Mitchum was showing up late and behaving erratically, producer John Wayne, after failing to obtain Humphrey Bogart as a replacement, took over the role himself.
Following a series of conventional Westerns and , as well as the Marilyn Monroe adventure vehicle River of No Return (1954), Mitchum appeared in The Night of the Hunter (1955), Charles Laughton's only film as director. Based on a novel by Davis Grubb, the thriller starred Mitchum as a monstrous criminal posing as a preacher to find money hidden by his cellmate in the man's home. His performance as Reverend Harry Powell is considered by many to be one of the best of his career. Stanley Kramer's melodrama Not as a Stranger, also released in 1955, was a box-office hit. The film starred Mitchum against type, as an idealistic young doctor, who marries an older nurse (Olivia de Havilland), only to question his morality many years later. However, the film was not well received, with most critics pointing out that Mitchum, Frank Sinatra, and Lee Marvin were all too old for their characters. Olivia de Havilland received top billing over Mitchum and Sinatra.
On March 8, 1955, Mitchum formed DRM (Dorothy and Robert Mitchum) Productions to produce five films for United Artists; four films were produced. The first film was Bandido (1956). Following a succession of average Westerns and the poorly received Foreign Intrigue (1956), Mitchum starred in the first of three films with Deborah Kerr. The John Huston war drama Heaven Knows, Mr. Allison, cast Mitchum as a Marine corporal shipwrecked on a Pacific Island with a nun, Sister Angela (Deborah Kerr), as his sole companion. In this character study they struggle with the elements, the Japanese garrison, and their growing feelings for one-another. The film was nominated for two Academy Awards, including Best Actress and Best Adapted Screenplay. For his role, Mitchum was nominated for a BAFTA Award for Best Foreign Actor. In the World War II submarine classic The Enemy Below (1956), Mitchum played the captain of a US Navy destroyer who matches wits with a wily German U-boat captain Curt Jurgens, who starred with Mitchum again in the 1962 World War II epic The Longest Day.
Thunder Road (1958), the second DRM Production, was loosely based on an incident in which a driver transporting moonshine was said to have fatally crashed on Kingston Pike in Knoxville, Tennessee, somewhere between Bearden Hill and Morrell Road. According to Metro Pulse writer Jack Renfro, the incident occurred in 1952 and may have been witnessed by James Agee, who passed the story on to Mitchum. He starred, produced, co-wrote the screenplay, and is rumored to have directed much of the film. It costars his son James, as his on-screen brother, in a role originally intended for Elvis Presley. Mitchum also co-wrote (with Don Raye) the theme song, "The Ballad of Thunder Road".
Mitchum returned to Mexico for The Wonderful Country (1959) with Julie London, and Ireland for A Terrible Beauty/The Night Fighters for the last of his DRM Productions.
Mitchum and Kerr reunited for the Fred Zinnemann film The Sundowners (1960), playing an Australia husband and wife struggling in the sheep industry during the Depression. The film received five Oscar nominations, and Mitchum earned the year's National Board of Review award for Best Actor for his performance. The award also recognized his performance in the Vincente Minnelli Western drama Home from the Hill (also 1960). He was teamed with former leading ladies Kerr and Simmons, as well as Cary Grant, for the Stanley Donen comedy The Grass Is Greener the same year.
Mitchum's performance as the menacing rapist Max Cady in Cape Fear (1962) brought him further renown for playing cold, predatory characters. The 1960s were marked by a number of lesser films, including the Shirley MacLaine comedy-musical What a Way to Go! (1964), the Howard Hawks Western El Dorado (1967), a remake of Rio Bravo (1959) (in which Mitchum took over Dean Martin's role of the drunk who comes to the aid of John Wayne's character), and another WWII epic, Anzio (1968). He teamed with Martin again for the 1968 Western 5 Card Stud, playing a homicidal preacher.
Later work
Mitchum made a departure from his typical screen persona with the 1970 David Lean film Ryan's Daughter, in which he starred as Charles Shaughnessy, a mild-mannered schoolmaster in World War I–era Ireland. At the time of filming Mitchum's recent films had been critical and commercial flops, and he was going through a personal crisis that had him considering suicide. Screenwriter Robert Bolt told him that he could do so after the film was finished and that he would personally pay for his burial. Though the film was nominated for four Academy Awards (winning two) and Mitchum was much publicized as a contender for a Best Actor nomination, he was not nominated. George C. Scott won the award for his powerful performance in Patton, a project Mitchum had rejected as glorifying war.
The 1970s featured Mitchum in a number of well-received crime dramas. The Friends of Eddie Coyle (1973) had the actor playing an aging Boston hoodlum caught between the Feds and his criminal friends. Sydney Pollack's The Yakuza (1974) transplanted the typical story arc to the Japanese underworld. He also appeared in 1976's Midway about a crucial 1942 World War II battle. Mitchum's stint as an aging Philip Marlowe in the Raymond Chandler adaptation Farewell, My Lovely (1975) (a re-make of 1944's Murder My Sweet) was sufficiently well received by audiences and critics for him to reprise the role in 1978's The Big Sleep, a remake of the 1946 film of the same title.
In 1982, Mitchum played Coach Delaney in the film adaptation of playwright/actor Jason Miller's 1973 Pulitzer Prize-winning play That Championship Season.
At the premiere for That Championship Season, Mitchum, while intoxicated, assaulted a female reporter and threw a basketball that he was holding (a prop from the film) at a female photographer from Time magazine, injuring her neck and knocking out two of her teeth. She sued him for $30 million for damages. The suit eventually "cost him his salary from the film".
That Championship Season may have indirectly led to another debacle for Mitchum several months later. In a February 1983 Esquire interview, he made several racist, anti-Semitic and sexist statements, including, when asked if the Holocaust occurred, responded "so the Jews say." Following the widespread negative response, he apologized a month later, saying that his statements were "prankish" and "foreign to my principle". He claimed that the problem had begun when he recited a racist monologue from his role in That Championship Season, the writer believing the words to be his own. Mitchum, who claimed that he had only reluctantly agreed to the interview, then decided to "string... along" the writer with even more incendiary statements.
Mitchum expanded to television work with the 1983 miniseries The Winds of War. The big-budget Herman Wouk story aired on ABC, starring Mitchum as naval officer "Pug" Henry and Victoria Tennant as Pamela Tudsbury, and examined the events leading up to America's involvement in World War II. He returned to the role in 1988's War and Remembrance, which continued the story through the end of the war.
In 1984, Mitchum entered the Betty Ford Center in Palm Springs, California for treatment of alcoholism.
He played George Hazard's father-in-law in the 1985 miniseries North and South, which also aired on ABC.
Mitchum starred opposite Wilford Brimley in the 1986 made-for-TV movie Thompson's Run. A hardened con (Mitchum), being transferred from a federal penitentiary to a Texas institution to finish a life sentence as a habitual criminal, is freed at gunpoint by his niece (played by Kathleen York). The cop (Brimley) who was transferring him, and has been the con's lifelong friend and adversary for over 30 years, vows to catch the twosome.
In 1987, Mitchum was the guest-host on Saturday Night Live, where he played private eye Philip Marlowe for the last time in the parody sketch, "Death Be Not Deadly". The show ran a short comedy film he made (written and directed by his daughter, Trina) called Out of Gas, a mock sequel to Out of the Past. (Jane Greer reprised her role from the original film.) He also was in Bill Murray's 1988 comedy film, Scrooged.
In 1991, Mitchum was given a lifetime achievement award from the National Board of Review of Motion Pictures, in the same year he received the Telegatto award and in 1992 the Cecil B. DeMille Award from the Golden Globe Awards.
Mitchum continued to act in films until the mid-1990s, such as in Jim Jarmusch's Dead Man, and he narrated the Western Tombstone. He also appeared, in contrast to his role as the antagonist in the original, as a protagonist police detective in Martin Scorsese's remake of Cape Fear, but the actor gradually slowed his workload. His last film appearance was a small but pivotal role in the television biographical film, James Dean: Race with Destiny, playing Giant director George Stevens. His last starring role was in the 1995 Norwegian movie Pakten.
Music
One of the lesser-known aspects of Mitchum's career was his foray into music as a singer. Critic Greg Adams writes, "Unlike most celebrity vocalists, Robert Mitchum actually had musical talent." Mitchum's voice was often used instead of that of a professional singer when his character sang in his films. Notable productions featuring Mitchum's own singing voice included Rachel and the Stranger, River of No Return, and The Night of the Hunter. After hearing traditional calypso music and meeting artists such as Mighty Sparrow and Lord Invader while filming Heaven Knows, Mr. Allison in the Caribbean islands of Tobago, he recorded Calypso – is like so ... in March 1957. On the album, released through Capitol Records, he emulated the calypso sound and style, even adopting the style's unique pronunciations and slang. A year later, he recorded a song he had written for Thunder Road, titled "The Ballad of Thunder Road". The country-style song became a modest hit for Mitchum, reaching number 69 on the Billboard Pop Singles chart. The song was included as a bonus track on a successful reissue of Calypso ... and helped market the film to a wider audience.
Although Mitchum continued to use his singing voice in his film work, he waited until 1967 to record his follow-up record, That Man, Robert Mitchum, Sings. The album, released by Nashville-based Monument Records, took him further into country music, and featured songs similar to "The Ballad of Thunder Road". "Little Old Wine Drinker Me", the first single, was a top-10 hit at country radio, reaching number nine there, and crossed over onto mainstream radio, where it peaked at number 96. Its follow-up, "You Deserve Each Other", also charted on the Billboard Country Singles chart. He sang the title song to the Western Young Billy Young, made in 1969.
Albums
Singles
Personal life
Mitchum's sons, James and Christopher, were actors, and his daughter, Petrine Day Mitchum, a writer. His grandchildren, Bentley Mitchum and Carrie Mitchum, are actors, as was his younger brother, John, who died in 2001. Another grandson, Kian, is a successful model.
A lifelong heavy smoker, Mitchum died on July 1, 1997, in Santa Barbara, California, due to complications of lung cancer and emphysema. He was five weeks shy of his 80th birthday. His body was cremated and his ashes scattered at sea, though there is a plot marker in the Odd Fellows Cemetery in Delaware. He was survived by his wife of 57 years, Dorothy Mitchum (May 2, 1919 – April 12, 2014, Santa Barbara, California, aged 94).
Reception, acting style and legacy
Mitchum is regarded by some critics as one of the finest actors of the Golden Age of Hollywood. Roger Ebert called him "the soul of film noir". Mitchum, however, was self-effacing; in an interview with Barry Norman for the BBC about his contribution to cinema, Mitchum stopped Norman in mid-flow and in his typical nonchalant style, said, "Look, I have two kinds of acting. One on a horse and one off a horse. That's it." He had also succeeded in annoying some of his fellow actors by voicing his puzzlement at those who viewed the profession as challenging and hard work. He is quoted as having said in the Norman interview that acting was actually very simple and that his job was to "show up on time, know his lines, hit his marks, and go home". Mitchum had a habit of marking most of his appearances in the script with the letters "n.a.r.", which meant "no action required", and also possessed a photographic memory that allowed him to remember lines with relative ease.
Mitchum's subtle and understated acting style often garnered him criticism of sleepwalking through his performances. The directors who worked with him however had nothing but praise for him. Charles Laughton, who directed him in The Night of the Hunter, considered Mitchum to be one of the best actors in the world and believed that he would have been the greatest Macbeth. John Huston felt that Mitchum was on the same pedestal of actors like Marlon Brando, Richard Burton and Laurence Olivier. Howard Hawks praised Mitchum for being a hard worker, labeling the actor a "fraud" for pretending to not care about acting. Robert De Niro, Clint Eastwood, Michael Madsen and Mark Rylance have cited Mitchum as one of their favorite actors.
AFI's 100 Years...100 Stars lists Mitchum as the 23rd-greatest male star of classic Hollywood cinema. AFI also recognized his performances as the menacing rapist Max Cady and Reverend Harry Powell as the 28th and 29th greatest screen villains of all time as part of AFI's 100 Years...100 Heroes and Villains. He provided the voice of the famous American Beef Council commercials that touted "Beef ... it's what's for dinner", from 1992 until his death.
A "Mitchum's Steakhouse" operated in Trappe, Maryland, where Mitchum and his family lived from 1959 to 1965.
Documentaries
2017 : James Stewart/Robert Mitchum: The Two Faces of America directed by Gregory Monro
Filmography
References
Citations
General sources
Mitchum, John. Them Ornery Mitchum Boys: The Adventures of Robert and John Mitchum. Pacifica, California: Creatures at Large, 1989. .
Olson, James and Randy Roberts. John Wayne: American. Lincoln, Nebraska: Bison Books, 1997. .
O'Steen, Sam. Cut to the Chase: Forty-Five Years of Editing America's Favorite Movies. Los Angeles: Michael Wiese Productions, 2002. .
Roberts, Jerry. Mitchum: In His Own Words. New York: Limelight Editions, 2000. .
Server, Lee. Robert Mitchum: "Baby, I Don't Care". New York: St Martin's Press, 2001. .
Sound, Owen. TCM Film Guide: Leading Men: The 50 Most Unforgettable Actors of the Studio Era. San Francisco, California: Chronicle Books, 2006. .
Tomkies, Mike. The Robert Mitchum Story: "It Sure Beats Working". New York: Ballantine Books, 1972. .
External links
Profile at Turner Classic Movies
Photographs and literature
1917 births
1997 deaths
20th Century Fox contract players
20th-century American male actors
20th-century American memoirists
20th-century American male singers
20th-century American singers
American country singer-songwriters
American male composers
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Cecil B. DeMille Award Golden Globe winners
Civilian Conservation Corps people
Combat medics
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Deaths from emphysema
Deaths from lung cancer
Haaren High School alumni
Male actors from Bridgeport, Connecticut
Male Western (genre) film actors
Military personnel from Bridgeport, Connecticut
Military personnel from Connecticut
Mitchum family
Monument Records artists
Overturned convictions in the United States
People from Hell's Kitchen, Manhattan
RKO Pictures contract players
United States Army personnel of World War II
United States Army soldiers
Singer-songwriters from New York (state) | true | [
"What Price Glory?! is a role-playing game published by James Lauffenburger in 1978.\n\nDescription\nWhat Price Glory?! is a fantasy system, basically a variant of Original D&D, with a hex-grid position-based combat system and a spell-point system for magic.\n\nPublication history\nWhat Price Glory?! was designed by John Dankert and Jim Lauffenburger, and published by James Lauffenburger in 1978 as a 140-page digest-sized book. The print run was 500 copies, of which 300 were distributed by Gamescience. Artwork was performed by Thomas E. Sprimont.\n\nReception\n\nReferences\n\nFantasy role-playing games\nRole-playing games introduced in 1978",
"Ernest Lee Thomas (born March 26, 1949) is an American actor. He is best known for his role as Roger \"Raj\" Thomas on the 1970s ABC sitcom What's Happening!!, and its 1980s syndicated sequel, What's Happening Now!!, and for his recurring role as Mr. Omar on Everybody Hates Chris.\n\nEarly career and What's Happening!!\n\nThomas was born in Gary, Indiana, and began his professional acting career as a Broadway actor, appearing in the 1974 revival production of Love for Love and in the 1975 revival of The Member of the Wedding. Both shows starred actress Glenn Close. Shortly after he moved to Los Angeles to pursue a career as a TV/film actor. In the fall of 1975 he received a role on an episode of The Jeffersons. It was during the taping of the show that he learned of an audition for a sitcom loosely based on the 1975 film Cooley High. Thomas auditioned, won the lead role, and filmed the television pilot, which tested poorly. The concept was quickly reworked into a more light-hearted approach to the source material, and became known as Central Avenue, before settling on the title What's Happening!!. Thomas was the only cast member retained from the pilot, and took the lead role of Roger \"Raj\" Thomas. The new \"summer series\" became a ratings hit, and was expanded to a full series, airing from 1976 to 1979.\n\nDuring the show's run, Thomas was involved in other film and TV projects including Baretta, The Brady Bunch Hour and the film A Piece of the Action starring Sidney Poitier and Bill Cosby. During the first season of What's Happening!!, Thomas was one of the final two actors to be considered for the lead role of Kunta Kinte in the breakthrough miniseries Roots, which eventually went to LeVar Burton. Thomas would go on to play the smaller role of Kailuba in the miniseries.\n\nWhat's Happening Now!! and later career\nAfter a six-year hiatus from TV and film acting, Ernest resumed his role as Roger \"Raj\" Thomas in the sequel What's Happening Now!! The show aired in first-run syndication from 1985 to 1988.\n\nSince the show's cancellation Thomas has guest starred on a number of popular TV dramas and sitcoms including In the Heat of the Night, (which co-starred his TV wife Anne-Marie Johnson, from What's Happening Now!!), The Parent 'Hood, Martin (which starred his What's Happening Now!! co-star Martin Lawrence), Soul Food, The Steve Harvey Show, All About the Andersons and more recently Just Jordan. He has also appeared in a number of films, including a supporting role in Malcolm X and a cameo in Dickie Roberts: Former Child Star. He later had a recurring role as funeral director, Mr. Omar, on the TV sitcom Everybody Hates Chris. He had an uncredited guest spot as Ernest T \"Bass\" on the TV show Are We There Yet? It was titled, \"The Satchel Paige Episode\" and had him playing a Flavor Flav type personality.\n\nIn 2012, Thomas was cast in rocker/horror movie director Rob Zombie's 2012 film The Lords of Salem. In 2016, he was in a comedic body horror short film called Earworm.\n\nHe has an eye condition called amblyopia.\n\nFilmography\n1976-1979: What's Happening!! (TV Series) - Roger 'Raj' Thomas\n1977: A Piece of the Action - John\n1985-1988: What's Happening Now!! (TV Series) - Roger 'Raj' Thomas\n1991: Kiss and Be Killed - Det. Ross\n1992: Malcolm X - Sidney\n2003: The Watermelon Heist - Jailer\n2003: Dickie Roberts: Former Child Star - Ernest Thomas\n2005-2009: Everybody Hates Chris (TV Series) - Mr. Omar / Funeral Director / Radical Man\n2007: Paroled - Royce Henderson\n2009: Funny People - Yo Teach Principal\n2012: The Lords of Salem - Chip McDonald (Frankenstein and the Witchhunter) (uncredited)\n2013: The Pastor and Mrs. Jones - Pastor\n2014: Basketball Girlfriend - Lenny\n2014: Revenge - Neville\n2014: The Slimbones - Uncle AB\n2015: Mega Shark vs. Kolossus - Admiral Titus Jackson\n2015: Chocolate City - Diner Manager\n2016: '79 Parts - Priore\n2016: Stop Bullying Now: Live from the Big House - Himself\n2016 - Earworm (short)\n2017: Chocolate City: Vegas Strip - Mr. Williams\n2017: The Gods - Olympus\n2017: Two Wolves - Olivier\n\nReferences\n\nExternal links\n\n1949 births\nLiving people\nMale actors from Indiana\nAmerican male film actors\nAmerican male stage actors\nAmerican male television actors\nAfrican-American male actors\n20th-century American male actors\n21st-century American male actors\nPeople from Gary, Indiana\n20th-century African-American people\n21st-century African-American people"
]
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"Film noir",
"what is the film noir?",
"Mitchum was initially known for his work in film noir.",
"what was his role",
"His first foray into the genre was a supporting role in the 1944 B-movie When Strangers Marry,"
]
| C_1b646414938c45e983367b2ad6a17667_0 | how did that movie do? | 3 | How was the movie When Strangers Marry received? | Robert Mitchum | Mitchum was initially known for his work in film noir. His first foray into the genre was a supporting role in the 1944 B-movie When Strangers Marry, about newlyweds and a New York City serial killer. Undercurrent, another of Mitchum's early noir films, featured him playing against type as a troubled, sensitive man entangled in the affairs of his brother (Robert Taylor) and his brother's suspicious wife (Katharine Hepburn). John Brahm's The Locket (1946) featured Mitchum as bitter ex-boyfriend to Laraine Day's femme fatale. Raoul Walsh's Pursued (1947) combined Western and noir styles, with Mitchum's character attempting to recall his past and find those responsible for killing his family. Crossfire (also 1947) featured Mitchum as a member of a group of World War II soldiers, one of whom kills a Jewish man. It featured themes of anti-Semitism and the failings of military training. The film, directed by Edward Dmytryk, earned five Academy Award nominations. Following Crossfire, Mitchum starred in Out of the Past (also called Build My Gallows High), directed by Jacques Tourneur and featuring the cinematography of Nicholas Musuraca. Mitchum played Jeff Markham, a small-town gas-station owner and former investigator, whose unfinished business with gambler Whit Sterling (Kirk Douglas) and femme fatale Kathie Moffett (Jane Greer) comes back to haunt him. On September 1, 1948, after a string of successful films for RKO, Mitchum and actress Lila Leeds were arrested for possession of marijuana. The arrest was the result of a sting operation designed to capture other Hollywood partiers, as well, but Mitchum and Leeds did not receive the tipoff. After serving a week at the county jail (he described the experience to a reporter as being "like Palm Springs, but without the riff-raff"), Mitchum spent 43 days (February 16 to March 30) at a Castaic, California, prison farm. Life photographers were permitted to take photos of him mopping up in his prison uniform. The arrest inspired the exploitation film She Shoulda Said No! (1949), which starred Leeds. The conviction was later overturned by the Los Angeles court and district attorney's office on January 31, 1951, after being exposed as a setup. Whether despite, or because of, Mitchum's troubles with the law and his studio, his films released immediately after his arrest were box-office hits. Rachel and the Stranger (1948) featured Mitchum in a supporting role as a mountain man competing for the hand of Loretta Young, the indentured servant and wife of William Holden. In the film adaptation of John Steinbeck's novella The Red Pony (1949), he appeared as a trusted cowhand to a ranching family. He returned to film noir in The Big Steal (also 1949), where he joined Jane Greer in an early Don Siegel film. CANNOTANSWER | CANNOTANSWER | Robert Charles Durman Mitchum (August 6, 1917 – July 1, 1997) was an American actor, director, author, poet, composer, and singer. He rose to prominence
with an Academy Award nomination for the Best Supporting Actor for The Story of G.I. Joe (1945), followed by starring in several classic film noirs. His acting is generally considered a forerunner of the antiheroes prevalent in film during the 1950s and 1960s. His best-known films include Thirty Seconds Over Tokyo (1944), Out of the Past (1947), River of No Return (1954), The Night of the Hunter (1955), Thunder Road (1958), Cape Fear (1962), El Dorado (1966), Ryan's Daughter (1970) and The Friends of Eddie Coyle (1973). He is also known for his television role as U.S. Navy Captain Victor "Pug" Henry in the epic miniseries The Winds of War (1983) and sequel War and Remembrance (1988).
Mitchum is rated number 23 on the American Film Institute's list of the greatest male stars of classic American cinema.
Early life
Mitchum was born in Bridgeport, Connecticut, on August 6, 1917, into a Scots-Irish/Norwegian Methodist family. His father, James Thomas Mitchum, was a shipyard and railroad worker of Scots-Irish descent, and his mother, Ann Harriet Gunderson, was a Norwegian immigrant and sea captain's daughter. His older sister, Annette (known as Julie Mitchum during her acting career), was born in 1914. James was crushed to death in a railyard accident in Charleston, South Carolina, in February 1919. His widow was awarded a government pension, and soon realized she was pregnant. Her third child, John, was born in September of that year.
Ann married Lieutenant Hugh "The Major" Cunningham Morris, a former Royal Naval Reserve officer. They had a daughter, Carol Morris, born July 1927 on the family farm in Delaware. When all of the children were old enough to attend school, Ann found employment as a linotype operator for the Bridgeport Post.
As a child, Mitchum was known as a prankster, often involved in fistfights and mischief. In 1929 his mother sent the twelve-year-old to live with her parents in Felton, Delaware; the boy was promptly expelled from middle school for scuffling with the principal. A year later he moved in with his older sister in Manhattan's Hell's Kitchen. After being expelled from Haaren High School he left his sister and traveled throughout the country, hopping freight cars and taking a number of jobs, including ditch-digging for the Civilian Conservation Corps and professional boxing. He later stated that at age 14 in Savannah, Georgia, he was arrested for vagrancy and put in a local chain gang. By Mitchum's account, he escaped and returned to his family in Delaware. During this time, while recovering from injuries that nearly cost him a leg, he met Dorothy Spence, whom he would later marry. He soon went back on the road, eventually "riding the rails" to California.
Acting
Getting established
In the mid-1930s Julie Mitchum moved to the West Coast in the hope of acting in movies, and the rest of the Mitchum family soon followed her to Long Beach, California. Robert arrived in 1936. During this time, Mitchum worked as a ghostwriter for astrologer Carroll Righter. Julie convinced him to join the local theater guild with her. At The Players Guild of Long Beach, Mitchum worked as a stagehand and occasional bit-player in company productions. He also wrote several short pieces which were performed by the guild. According to Lee Server's biography (Robert Mitchum: Baby, I Don't Care), Mitchum put his talent for poetry to work writing song lyrics and monologues for Julie's nightclub performances.
In 1940, he returned to Delaware to marry Dorothy Spence, and they moved back to California. He gave up his artistic pursuits at the birth of their first child James, nicknamed Josh, and two more children, Chris and Petrine, followed. Mitchum found steady employment as a machine operator during World War II with the Lockheed Aircraft Corporation, but the noise of the machinery damaged his hearing. He also suffered a nervous breakdown (which resulted in temporary vision problems), due to job-related stress.
He then sought work as a film actor, performing initially as an extra and in small speaking parts. His agent got him an interview with Harry Sherman, the producer of Paramount's Hopalong Cassidy western film series, which starred William Boyd; Mitchum was hired to play minor villainous roles in several films in the series during 1942 and 1943. He went uncredited as a soldier in the 1943 film The Human Comedy starring Mickey Rooney. His first on-screen credit came in 1943 as a Marine private in the Randolph Scott war film Gung Ho! Mitchum continued to find work as an extra and supporting actor in numerous productions for various studios.
After impressing director Mervyn LeRoy during the making of Thirty Seconds Over Tokyo, Mitchum signed a seven-year contract with RKO Radio Pictures. He was groomed for B-Western stardom in a series of Zane Grey adaptations. Following the moderately successful Western Nevada, RKO lent Mitchum to United Artists for a prominent supporting actor role in The Story of G.I. Joe (1945). In the film, he portrayed war-weary officer Bill Walker (based on Captain Henry T. Waskow), who remains resolute despite the troubles he faces. The film, which followed the life of an ordinary soldier through the eyes of journalist Ernie Pyle (played by Burgess Meredith), became an instant critical and commercial success. Shortly after filming, Mitchum was drafted into the United States Army, serving at Fort MacArthur, California, as a medic. At the 1946 Academy Awards, The Story of G.I. Joe was nominated for four Oscars, including Mitchum's only nomination for an Academy Award, for Best Supporting Actor. He finished the year with a Western (West of the Pecos) and a story of returning Marine veterans (Till the End of Time), before migrating to a genre that came to define Mitchum's career and screen persona: film noir.
Film noir
Mitchum was initially known for his work in film noir. His first foray into the genre was a supporting role in the 1944 B-movie When Strangers Marry, about newlyweds and a New York City serial killer. Another early noir, Undercurrent, featured him as a troubled, sensitive man entangled in the affairs of his tycoon brother (Robert Taylor) and his brother's suspicious wife (Katharine Hepburn). John Brahm's The Locket (1946) featured Mitchum as a bitter ex-boyfriend to Laraine Day's femme fatale. Raoul Walsh's Pursued (1947) combined the Western and noir genres, with Mitchum's character attempting to recall his past and find those responsible for killing his family. Crossfire (also 1947) featured Mitchum as a member of a group of returned World War II soldiers embroiled in a murder investigation for an act committed by an anti-Semite in their ranks. The film, directed by Edward Dmytryk and starring Robert Ryan and Robert Young, earned five Academy Award nominations.
Following Crossfire, Mitchum starred in Out of the Past (also called Build My Gallows High), directed by Jacques Tourneur and featuring the cinematography of Nicholas Musuraca. In his best-known noir role, Mitchum played Jeff Markham, a small-town gas-station owner and former investigator, whose unfinished business with gambler Whit Sterling (Kirk Douglas) and femme fatale Kathie Moffett (Jane Greer) comes back to haunt him.
On September 1, 1948, after a string of successful films for RKO, Mitchum and actress Lila Leeds were arrested for possession of marijuana. The bust was the result of a sting operation designed to capture other Hollywood partiers as well, but Mitchum and Leeds did not receive the tipoff. After serving a week at the county jail (he described the experience to a reporter as being "like Palm Springs, but without the riff-raff"), Mitchum spent 43 days (February 16 to March 30) at a Castaic, California, prison farm. Life photographers were permitted to take photos of him mopping up in his prison uniform. The arrest inspired the exploitation film She Shoulda Said No! (1949), which starred Leeds. Mitchum's conviction was later overturned by the Los Angeles court and district attorney's office on January 31, 1951, after being exposed as a setup.
Despite Mitchum's legal troubles and problems without his studio, his popularity was not harmed and films released immediately after his arrest were box-office hits. Rachel and the Stranger (1948) featured Mitchum in a supporting role as a mountain man competing for the hand of Loretta Young, the indentured servant and wife of William Holden. In the film adaptation of John Steinbeck's novella The Red Pony (1949), he appeared as a trusted cowhand to a ranching family. He returned to in The Big Steal (also 1949), where he reunited with Jane Greer in an early Don Siegel film.
Mainstream stardom in the 1950s and 1960s
In Where Danger Lives (1950), Mitchum played a doctor who comes between a mentally unbalanced Faith Domergue and cuckolded Claude Rains. The Racket was a noir remake of the early crime drama The Racket (1928), and featured Mitchum as a police captain fighting corruption in his precinct. The Josef von Sternberg film, Macao (1952), had Mitchum as a victim of mistaken identity at an exotic resort casino, playing opposite Jane Russell. Otto Preminger's Angel Face was the first of three collaborations between Mitchum and British stage actress Jean Simmons. Mitchum plays an ambulance driver who allows a murderously insane heiress to fatally seduce him.
Mitchum was fired from Blood Alley (1955) over his conduct, reportedly having thrown the film's transportation manager into San Francisco Bay. According to Sam O'Steen's memoir Cut to the Chase, Mitchum showed up on-set after a night of drinking and tore apart a studio office when they did not have a car ready for him. Mitchum walked off the set of the third day of filming Blood Alley, claiming he could not work with the director. Because Mitchum was showing up late and behaving erratically, producer John Wayne, after failing to obtain Humphrey Bogart as a replacement, took over the role himself.
Following a series of conventional Westerns and , as well as the Marilyn Monroe adventure vehicle River of No Return (1954), Mitchum appeared in The Night of the Hunter (1955), Charles Laughton's only film as director. Based on a novel by Davis Grubb, the thriller starred Mitchum as a monstrous criminal posing as a preacher to find money hidden by his cellmate in the man's home. His performance as Reverend Harry Powell is considered by many to be one of the best of his career. Stanley Kramer's melodrama Not as a Stranger, also released in 1955, was a box-office hit. The film starred Mitchum against type, as an idealistic young doctor, who marries an older nurse (Olivia de Havilland), only to question his morality many years later. However, the film was not well received, with most critics pointing out that Mitchum, Frank Sinatra, and Lee Marvin were all too old for their characters. Olivia de Havilland received top billing over Mitchum and Sinatra.
On March 8, 1955, Mitchum formed DRM (Dorothy and Robert Mitchum) Productions to produce five films for United Artists; four films were produced. The first film was Bandido (1956). Following a succession of average Westerns and the poorly received Foreign Intrigue (1956), Mitchum starred in the first of three films with Deborah Kerr. The John Huston war drama Heaven Knows, Mr. Allison, cast Mitchum as a Marine corporal shipwrecked on a Pacific Island with a nun, Sister Angela (Deborah Kerr), as his sole companion. In this character study they struggle with the elements, the Japanese garrison, and their growing feelings for one-another. The film was nominated for two Academy Awards, including Best Actress and Best Adapted Screenplay. For his role, Mitchum was nominated for a BAFTA Award for Best Foreign Actor. In the World War II submarine classic The Enemy Below (1956), Mitchum played the captain of a US Navy destroyer who matches wits with a wily German U-boat captain Curt Jurgens, who starred with Mitchum again in the 1962 World War II epic The Longest Day.
Thunder Road (1958), the second DRM Production, was loosely based on an incident in which a driver transporting moonshine was said to have fatally crashed on Kingston Pike in Knoxville, Tennessee, somewhere between Bearden Hill and Morrell Road. According to Metro Pulse writer Jack Renfro, the incident occurred in 1952 and may have been witnessed by James Agee, who passed the story on to Mitchum. He starred, produced, co-wrote the screenplay, and is rumored to have directed much of the film. It costars his son James, as his on-screen brother, in a role originally intended for Elvis Presley. Mitchum also co-wrote (with Don Raye) the theme song, "The Ballad of Thunder Road".
Mitchum returned to Mexico for The Wonderful Country (1959) with Julie London, and Ireland for A Terrible Beauty/The Night Fighters for the last of his DRM Productions.
Mitchum and Kerr reunited for the Fred Zinnemann film The Sundowners (1960), playing an Australia husband and wife struggling in the sheep industry during the Depression. The film received five Oscar nominations, and Mitchum earned the year's National Board of Review award for Best Actor for his performance. The award also recognized his performance in the Vincente Minnelli Western drama Home from the Hill (also 1960). He was teamed with former leading ladies Kerr and Simmons, as well as Cary Grant, for the Stanley Donen comedy The Grass Is Greener the same year.
Mitchum's performance as the menacing rapist Max Cady in Cape Fear (1962) brought him further renown for playing cold, predatory characters. The 1960s were marked by a number of lesser films, including the Shirley MacLaine comedy-musical What a Way to Go! (1964), the Howard Hawks Western El Dorado (1967), a remake of Rio Bravo (1959) (in which Mitchum took over Dean Martin's role of the drunk who comes to the aid of John Wayne's character), and another WWII epic, Anzio (1968). He teamed with Martin again for the 1968 Western 5 Card Stud, playing a homicidal preacher.
Later work
Mitchum made a departure from his typical screen persona with the 1970 David Lean film Ryan's Daughter, in which he starred as Charles Shaughnessy, a mild-mannered schoolmaster in World War I–era Ireland. At the time of filming Mitchum's recent films had been critical and commercial flops, and he was going through a personal crisis that had him considering suicide. Screenwriter Robert Bolt told him that he could do so after the film was finished and that he would personally pay for his burial. Though the film was nominated for four Academy Awards (winning two) and Mitchum was much publicized as a contender for a Best Actor nomination, he was not nominated. George C. Scott won the award for his powerful performance in Patton, a project Mitchum had rejected as glorifying war.
The 1970s featured Mitchum in a number of well-received crime dramas. The Friends of Eddie Coyle (1973) had the actor playing an aging Boston hoodlum caught between the Feds and his criminal friends. Sydney Pollack's The Yakuza (1974) transplanted the typical story arc to the Japanese underworld. He also appeared in 1976's Midway about a crucial 1942 World War II battle. Mitchum's stint as an aging Philip Marlowe in the Raymond Chandler adaptation Farewell, My Lovely (1975) (a re-make of 1944's Murder My Sweet) was sufficiently well received by audiences and critics for him to reprise the role in 1978's The Big Sleep, a remake of the 1946 film of the same title.
In 1982, Mitchum played Coach Delaney in the film adaptation of playwright/actor Jason Miller's 1973 Pulitzer Prize-winning play That Championship Season.
At the premiere for That Championship Season, Mitchum, while intoxicated, assaulted a female reporter and threw a basketball that he was holding (a prop from the film) at a female photographer from Time magazine, injuring her neck and knocking out two of her teeth. She sued him for $30 million for damages. The suit eventually "cost him his salary from the film".
That Championship Season may have indirectly led to another debacle for Mitchum several months later. In a February 1983 Esquire interview, he made several racist, anti-Semitic and sexist statements, including, when asked if the Holocaust occurred, responded "so the Jews say." Following the widespread negative response, he apologized a month later, saying that his statements were "prankish" and "foreign to my principle". He claimed that the problem had begun when he recited a racist monologue from his role in That Championship Season, the writer believing the words to be his own. Mitchum, who claimed that he had only reluctantly agreed to the interview, then decided to "string... along" the writer with even more incendiary statements.
Mitchum expanded to television work with the 1983 miniseries The Winds of War. The big-budget Herman Wouk story aired on ABC, starring Mitchum as naval officer "Pug" Henry and Victoria Tennant as Pamela Tudsbury, and examined the events leading up to America's involvement in World War II. He returned to the role in 1988's War and Remembrance, which continued the story through the end of the war.
In 1984, Mitchum entered the Betty Ford Center in Palm Springs, California for treatment of alcoholism.
He played George Hazard's father-in-law in the 1985 miniseries North and South, which also aired on ABC.
Mitchum starred opposite Wilford Brimley in the 1986 made-for-TV movie Thompson's Run. A hardened con (Mitchum), being transferred from a federal penitentiary to a Texas institution to finish a life sentence as a habitual criminal, is freed at gunpoint by his niece (played by Kathleen York). The cop (Brimley) who was transferring him, and has been the con's lifelong friend and adversary for over 30 years, vows to catch the twosome.
In 1987, Mitchum was the guest-host on Saturday Night Live, where he played private eye Philip Marlowe for the last time in the parody sketch, "Death Be Not Deadly". The show ran a short comedy film he made (written and directed by his daughter, Trina) called Out of Gas, a mock sequel to Out of the Past. (Jane Greer reprised her role from the original film.) He also was in Bill Murray's 1988 comedy film, Scrooged.
In 1991, Mitchum was given a lifetime achievement award from the National Board of Review of Motion Pictures, in the same year he received the Telegatto award and in 1992 the Cecil B. DeMille Award from the Golden Globe Awards.
Mitchum continued to act in films until the mid-1990s, such as in Jim Jarmusch's Dead Man, and he narrated the Western Tombstone. He also appeared, in contrast to his role as the antagonist in the original, as a protagonist police detective in Martin Scorsese's remake of Cape Fear, but the actor gradually slowed his workload. His last film appearance was a small but pivotal role in the television biographical film, James Dean: Race with Destiny, playing Giant director George Stevens. His last starring role was in the 1995 Norwegian movie Pakten.
Music
One of the lesser-known aspects of Mitchum's career was his foray into music as a singer. Critic Greg Adams writes, "Unlike most celebrity vocalists, Robert Mitchum actually had musical talent." Mitchum's voice was often used instead of that of a professional singer when his character sang in his films. Notable productions featuring Mitchum's own singing voice included Rachel and the Stranger, River of No Return, and The Night of the Hunter. After hearing traditional calypso music and meeting artists such as Mighty Sparrow and Lord Invader while filming Heaven Knows, Mr. Allison in the Caribbean islands of Tobago, he recorded Calypso – is like so ... in March 1957. On the album, released through Capitol Records, he emulated the calypso sound and style, even adopting the style's unique pronunciations and slang. A year later, he recorded a song he had written for Thunder Road, titled "The Ballad of Thunder Road". The country-style song became a modest hit for Mitchum, reaching number 69 on the Billboard Pop Singles chart. The song was included as a bonus track on a successful reissue of Calypso ... and helped market the film to a wider audience.
Although Mitchum continued to use his singing voice in his film work, he waited until 1967 to record his follow-up record, That Man, Robert Mitchum, Sings. The album, released by Nashville-based Monument Records, took him further into country music, and featured songs similar to "The Ballad of Thunder Road". "Little Old Wine Drinker Me", the first single, was a top-10 hit at country radio, reaching number nine there, and crossed over onto mainstream radio, where it peaked at number 96. Its follow-up, "You Deserve Each Other", also charted on the Billboard Country Singles chart. He sang the title song to the Western Young Billy Young, made in 1969.
Albums
Singles
Personal life
Mitchum's sons, James and Christopher, were actors, and his daughter, Petrine Day Mitchum, a writer. His grandchildren, Bentley Mitchum and Carrie Mitchum, are actors, as was his younger brother, John, who died in 2001. Another grandson, Kian, is a successful model.
A lifelong heavy smoker, Mitchum died on July 1, 1997, in Santa Barbara, California, due to complications of lung cancer and emphysema. He was five weeks shy of his 80th birthday. His body was cremated and his ashes scattered at sea, though there is a plot marker in the Odd Fellows Cemetery in Delaware. He was survived by his wife of 57 years, Dorothy Mitchum (May 2, 1919 – April 12, 2014, Santa Barbara, California, aged 94).
Reception, acting style and legacy
Mitchum is regarded by some critics as one of the finest actors of the Golden Age of Hollywood. Roger Ebert called him "the soul of film noir". Mitchum, however, was self-effacing; in an interview with Barry Norman for the BBC about his contribution to cinema, Mitchum stopped Norman in mid-flow and in his typical nonchalant style, said, "Look, I have two kinds of acting. One on a horse and one off a horse. That's it." He had also succeeded in annoying some of his fellow actors by voicing his puzzlement at those who viewed the profession as challenging and hard work. He is quoted as having said in the Norman interview that acting was actually very simple and that his job was to "show up on time, know his lines, hit his marks, and go home". Mitchum had a habit of marking most of his appearances in the script with the letters "n.a.r.", which meant "no action required", and also possessed a photographic memory that allowed him to remember lines with relative ease.
Mitchum's subtle and understated acting style often garnered him criticism of sleepwalking through his performances. The directors who worked with him however had nothing but praise for him. Charles Laughton, who directed him in The Night of the Hunter, considered Mitchum to be one of the best actors in the world and believed that he would have been the greatest Macbeth. John Huston felt that Mitchum was on the same pedestal of actors like Marlon Brando, Richard Burton and Laurence Olivier. Howard Hawks praised Mitchum for being a hard worker, labeling the actor a "fraud" for pretending to not care about acting. Robert De Niro, Clint Eastwood, Michael Madsen and Mark Rylance have cited Mitchum as one of their favorite actors.
AFI's 100 Years...100 Stars lists Mitchum as the 23rd-greatest male star of classic Hollywood cinema. AFI also recognized his performances as the menacing rapist Max Cady and Reverend Harry Powell as the 28th and 29th greatest screen villains of all time as part of AFI's 100 Years...100 Heroes and Villains. He provided the voice of the famous American Beef Council commercials that touted "Beef ... it's what's for dinner", from 1992 until his death.
A "Mitchum's Steakhouse" operated in Trappe, Maryland, where Mitchum and his family lived from 1959 to 1965.
Documentaries
2017 : James Stewart/Robert Mitchum: The Two Faces of America directed by Gregory Monro
Filmography
References
Citations
General sources
Mitchum, John. Them Ornery Mitchum Boys: The Adventures of Robert and John Mitchum. Pacifica, California: Creatures at Large, 1989. .
Olson, James and Randy Roberts. John Wayne: American. Lincoln, Nebraska: Bison Books, 1997. .
O'Steen, Sam. Cut to the Chase: Forty-Five Years of Editing America's Favorite Movies. Los Angeles: Michael Wiese Productions, 2002. .
Roberts, Jerry. Mitchum: In His Own Words. New York: Limelight Editions, 2000. .
Server, Lee. Robert Mitchum: "Baby, I Don't Care". New York: St Martin's Press, 2001. .
Sound, Owen. TCM Film Guide: Leading Men: The 50 Most Unforgettable Actors of the Studio Era. San Francisco, California: Chronicle Books, 2006. .
Tomkies, Mike. The Robert Mitchum Story: "It Sure Beats Working". New York: Ballantine Books, 1972. .
External links
Profile at Turner Classic Movies
Photographs and literature
1917 births
1997 deaths
20th Century Fox contract players
20th-century American male actors
20th-century American memoirists
20th-century American male singers
20th-century American singers
American country singer-songwriters
American male composers
American male film actors
American male poets
American Methodists
American baritones
American people of Scotch-Irish descent
American people of Norwegian descent
California Republicans
Capitol Records artists
Cecil B. DeMille Award Golden Globe winners
Civilian Conservation Corps people
Combat medics
Connecticut Republicans
Deaths from cancer in California
Deaths from emphysema
Deaths from lung cancer
Haaren High School alumni
Male actors from Bridgeport, Connecticut
Male Western (genre) film actors
Military personnel from Bridgeport, Connecticut
Military personnel from Connecticut
Mitchum family
Monument Records artists
Overturned convictions in the United States
People from Hell's Kitchen, Manhattan
RKO Pictures contract players
United States Army personnel of World War II
United States Army soldiers
Singer-songwriters from New York (state) | false | [
"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",
"Best Worst Movie is a 2009 American documentary film about the making of the infamous 1990 horror film Troll 2 and its subsequent resurgence as a cult film. Directed by Michael Stephenson, the child star of Troll 2, the film was distributed by Magicstone Productions and New Video Group. It was also included in the first 5,000 copies of Scream Factory's Blu-ray double feature of Troll and Troll 2, released on November 17, 2015.\n\nSynopsis\nAlmost twenty years after critically-panned film Troll 2 was released, the cast and crew are followed in this documentary to see how they handle the new life that the movie has been given. Fans gather to celebrate the movie at screenings.\n\nDirector of the documentary Michael Stephenson, who played the young boy in Troll 2, interviews many of the former cast and crew. Although many consider Troll 2 to be one of the worst movies ever made, many fans have had parties, annual screenings, and found joy in watching the unintended humor of the movie. \n\nThe documentary follows lead actor of Troll 2 George Hardy, a dentist living in his hometown Alabama where he is well-liked by people around him and embraces the role he had in the movie. He is seen trying to convince his neighbors to attend a local screening of the movie and also goes to conventions. He mentions that if he could have chosen to be an actor or a dentist, he would have been an actor as he did not mind the spotlight. \n\nClaudio Fragasso, director of Troll 2, is also featured discussing what he intended this film to become. He is happy to see the cult following that his original film has achieved but fails to understand why fans of the movie laughed at scenes that were not intended to be funny. When asked why the film was called \"Troll 2\" when there were no trolls in the movie, he initially does not understand the question and after being told that the creatures in the film are called goblins, he scoffs at the question. Although Fragasso is made aware that his film is considered to be a poorly-made one, he is glad the film has had an impression on its viewers.\n\nOther actors of the cast and crew do Q&A sessions with fans of the film. Some joke that they had never read the entire script when their parts were filmed. Others say that they never knew what kind of movie they were filming. Margo Prey, who played the wife of Hardy's character in Troll 2, was interviewed but did not want to go to the local screening of Troll 2 because of how \"complicated\" it would have been. More former cast members were interviewed at their homes to discuss their thoughts on the film and what the film has become since the production.\n\nIn the end, Hardy stated he would do Troll 3 if he were asked to do so. During the credits, it was noted that Fragasso was writing his next movie Troll 2: Part 2.\n\nCast\n Michael Stephenson\n George Hardy\n Lily Hardy\n Pita Ray\n Micki Knox\n Tommy Bice\n Lila Graves\n Laura Gulledge\n Merry Hardy\n Barbara H. Young\n Emily Booth\n Claudio Fragasso\n\nProduction\nAfter completing and watching Troll 2, Stephenson became embarrassed by the film; however, thanks to Myspace, he began to realize that the film had gained a cult following and was often listed alongside favorite movies of users on the site. According to Stephenson, the turning point came in April 2006; he stated, \"I woke up one morning with a really warm feeling and I was smiling ear to ear. I was next to my wife and I said, 'I am the child star of the worst movie ever made... there's a story here.'\"\n\nNot all participants in Troll 2 were eager to revisit the film. Stephenson noted that he had trouble convincing actors Don Packard and Connie Young to be included in the project, although he was eventually able to convince both to appear in it.\n\nRelease\nThe film premiered at the South by Southwest festival in March 2009, and was released on DVD in November 2010.\n\nReception\n\nBest Worst Movie received positive reviews. On Rotten Tomatoes it holds a 94% approval rating, based on 70 reviews, with an average rating of 7.30/10. The website's consensus reads, \"Good-natured and mirthful, Best Worst Movie is a sweet deconstruction of how a cinematic folly can become a triumph.\" On Metacritic it has a score of 61% based on reviews from 15 critics, indicating \"generally favorable reviews.\"\nRoger Ebert awarded Best Worst Movie three out of four stars. The A.V. Club gave the film a \"B\" rating.\n\nAccolades\n\nReferences\n\nExternal links\n \n \n \n \n\n2009 documentary films\n2009 films\nAmerican documentary films\nAmerican films\nDocumentary films about films\nEnglish-language films\nItalian-language films\nDocumentary films about horror\nFilms directed by Michael Stephenson\n2009 directorial debut films"
]
|
[
"Robert Mitchum",
"Film noir",
"what is the film noir?",
"Mitchum was initially known for his work in film noir.",
"what was his role",
"His first foray into the genre was a supporting role in the 1944 B-movie When Strangers Marry,",
"how did that movie do?",
"I don't know."
]
| C_1b646414938c45e983367b2ad6a17667_0 | who acted alongside with him | 4 | Who acted alongside Robert Mitchum in When Strangers Marry? | Robert Mitchum | Mitchum was initially known for his work in film noir. His first foray into the genre was a supporting role in the 1944 B-movie When Strangers Marry, about newlyweds and a New York City serial killer. Undercurrent, another of Mitchum's early noir films, featured him playing against type as a troubled, sensitive man entangled in the affairs of his brother (Robert Taylor) and his brother's suspicious wife (Katharine Hepburn). John Brahm's The Locket (1946) featured Mitchum as bitter ex-boyfriend to Laraine Day's femme fatale. Raoul Walsh's Pursued (1947) combined Western and noir styles, with Mitchum's character attempting to recall his past and find those responsible for killing his family. Crossfire (also 1947) featured Mitchum as a member of a group of World War II soldiers, one of whom kills a Jewish man. It featured themes of anti-Semitism and the failings of military training. The film, directed by Edward Dmytryk, earned five Academy Award nominations. Following Crossfire, Mitchum starred in Out of the Past (also called Build My Gallows High), directed by Jacques Tourneur and featuring the cinematography of Nicholas Musuraca. Mitchum played Jeff Markham, a small-town gas-station owner and former investigator, whose unfinished business with gambler Whit Sterling (Kirk Douglas) and femme fatale Kathie Moffett (Jane Greer) comes back to haunt him. On September 1, 1948, after a string of successful films for RKO, Mitchum and actress Lila Leeds were arrested for possession of marijuana. The arrest was the result of a sting operation designed to capture other Hollywood partiers, as well, but Mitchum and Leeds did not receive the tipoff. After serving a week at the county jail (he described the experience to a reporter as being "like Palm Springs, but without the riff-raff"), Mitchum spent 43 days (February 16 to March 30) at a Castaic, California, prison farm. Life photographers were permitted to take photos of him mopping up in his prison uniform. The arrest inspired the exploitation film She Shoulda Said No! (1949), which starred Leeds. The conviction was later overturned by the Los Angeles court and district attorney's office on January 31, 1951, after being exposed as a setup. Whether despite, or because of, Mitchum's troubles with the law and his studio, his films released immediately after his arrest were box-office hits. Rachel and the Stranger (1948) featured Mitchum in a supporting role as a mountain man competing for the hand of Loretta Young, the indentured servant and wife of William Holden. In the film adaptation of John Steinbeck's novella The Red Pony (1949), he appeared as a trusted cowhand to a ranching family. He returned to film noir in The Big Steal (also 1949), where he joined Jane Greer in an early Don Siegel film. CANNOTANSWER | him playing against type as a troubled, sensitive man entangled in the affairs of his brother (Robert Taylor) and his brother's suspicious wife (Katharine Hepburn). | Robert Charles Durman Mitchum (August 6, 1917 – July 1, 1997) was an American actor, director, author, poet, composer, and singer. He rose to prominence
with an Academy Award nomination for the Best Supporting Actor for The Story of G.I. Joe (1945), followed by starring in several classic film noirs. His acting is generally considered a forerunner of the antiheroes prevalent in film during the 1950s and 1960s. His best-known films include Thirty Seconds Over Tokyo (1944), Out of the Past (1947), River of No Return (1954), The Night of the Hunter (1955), Thunder Road (1958), Cape Fear (1962), El Dorado (1966), Ryan's Daughter (1970) and The Friends of Eddie Coyle (1973). He is also known for his television role as U.S. Navy Captain Victor "Pug" Henry in the epic miniseries The Winds of War (1983) and sequel War and Remembrance (1988).
Mitchum is rated number 23 on the American Film Institute's list of the greatest male stars of classic American cinema.
Early life
Mitchum was born in Bridgeport, Connecticut, on August 6, 1917, into a Scots-Irish/Norwegian Methodist family. His father, James Thomas Mitchum, was a shipyard and railroad worker of Scots-Irish descent, and his mother, Ann Harriet Gunderson, was a Norwegian immigrant and sea captain's daughter. His older sister, Annette (known as Julie Mitchum during her acting career), was born in 1914. James was crushed to death in a railyard accident in Charleston, South Carolina, in February 1919. His widow was awarded a government pension, and soon realized she was pregnant. Her third child, John, was born in September of that year.
Ann married Lieutenant Hugh "The Major" Cunningham Morris, a former Royal Naval Reserve officer. They had a daughter, Carol Morris, born July 1927 on the family farm in Delaware. When all of the children were old enough to attend school, Ann found employment as a linotype operator for the Bridgeport Post.
As a child, Mitchum was known as a prankster, often involved in fistfights and mischief. In 1929 his mother sent the twelve-year-old to live with her parents in Felton, Delaware; the boy was promptly expelled from middle school for scuffling with the principal. A year later he moved in with his older sister in Manhattan's Hell's Kitchen. After being expelled from Haaren High School he left his sister and traveled throughout the country, hopping freight cars and taking a number of jobs, including ditch-digging for the Civilian Conservation Corps and professional boxing. He later stated that at age 14 in Savannah, Georgia, he was arrested for vagrancy and put in a local chain gang. By Mitchum's account, he escaped and returned to his family in Delaware. During this time, while recovering from injuries that nearly cost him a leg, he met Dorothy Spence, whom he would later marry. He soon went back on the road, eventually "riding the rails" to California.
Acting
Getting established
In the mid-1930s Julie Mitchum moved to the West Coast in the hope of acting in movies, and the rest of the Mitchum family soon followed her to Long Beach, California. Robert arrived in 1936. During this time, Mitchum worked as a ghostwriter for astrologer Carroll Righter. Julie convinced him to join the local theater guild with her. At The Players Guild of Long Beach, Mitchum worked as a stagehand and occasional bit-player in company productions. He also wrote several short pieces which were performed by the guild. According to Lee Server's biography (Robert Mitchum: Baby, I Don't Care), Mitchum put his talent for poetry to work writing song lyrics and monologues for Julie's nightclub performances.
In 1940, he returned to Delaware to marry Dorothy Spence, and they moved back to California. He gave up his artistic pursuits at the birth of their first child James, nicknamed Josh, and two more children, Chris and Petrine, followed. Mitchum found steady employment as a machine operator during World War II with the Lockheed Aircraft Corporation, but the noise of the machinery damaged his hearing. He also suffered a nervous breakdown (which resulted in temporary vision problems), due to job-related stress.
He then sought work as a film actor, performing initially as an extra and in small speaking parts. His agent got him an interview with Harry Sherman, the producer of Paramount's Hopalong Cassidy western film series, which starred William Boyd; Mitchum was hired to play minor villainous roles in several films in the series during 1942 and 1943. He went uncredited as a soldier in the 1943 film The Human Comedy starring Mickey Rooney. His first on-screen credit came in 1943 as a Marine private in the Randolph Scott war film Gung Ho! Mitchum continued to find work as an extra and supporting actor in numerous productions for various studios.
After impressing director Mervyn LeRoy during the making of Thirty Seconds Over Tokyo, Mitchum signed a seven-year contract with RKO Radio Pictures. He was groomed for B-Western stardom in a series of Zane Grey adaptations. Following the moderately successful Western Nevada, RKO lent Mitchum to United Artists for a prominent supporting actor role in The Story of G.I. Joe (1945). In the film, he portrayed war-weary officer Bill Walker (based on Captain Henry T. Waskow), who remains resolute despite the troubles he faces. The film, which followed the life of an ordinary soldier through the eyes of journalist Ernie Pyle (played by Burgess Meredith), became an instant critical and commercial success. Shortly after filming, Mitchum was drafted into the United States Army, serving at Fort MacArthur, California, as a medic. At the 1946 Academy Awards, The Story of G.I. Joe was nominated for four Oscars, including Mitchum's only nomination for an Academy Award, for Best Supporting Actor. He finished the year with a Western (West of the Pecos) and a story of returning Marine veterans (Till the End of Time), before migrating to a genre that came to define Mitchum's career and screen persona: film noir.
Film noir
Mitchum was initially known for his work in film noir. His first foray into the genre was a supporting role in the 1944 B-movie When Strangers Marry, about newlyweds and a New York City serial killer. Another early noir, Undercurrent, featured him as a troubled, sensitive man entangled in the affairs of his tycoon brother (Robert Taylor) and his brother's suspicious wife (Katharine Hepburn). John Brahm's The Locket (1946) featured Mitchum as a bitter ex-boyfriend to Laraine Day's femme fatale. Raoul Walsh's Pursued (1947) combined the Western and noir genres, with Mitchum's character attempting to recall his past and find those responsible for killing his family. Crossfire (also 1947) featured Mitchum as a member of a group of returned World War II soldiers embroiled in a murder investigation for an act committed by an anti-Semite in their ranks. The film, directed by Edward Dmytryk and starring Robert Ryan and Robert Young, earned five Academy Award nominations.
Following Crossfire, Mitchum starred in Out of the Past (also called Build My Gallows High), directed by Jacques Tourneur and featuring the cinematography of Nicholas Musuraca. In his best-known noir role, Mitchum played Jeff Markham, a small-town gas-station owner and former investigator, whose unfinished business with gambler Whit Sterling (Kirk Douglas) and femme fatale Kathie Moffett (Jane Greer) comes back to haunt him.
On September 1, 1948, after a string of successful films for RKO, Mitchum and actress Lila Leeds were arrested for possession of marijuana. The bust was the result of a sting operation designed to capture other Hollywood partiers as well, but Mitchum and Leeds did not receive the tipoff. After serving a week at the county jail (he described the experience to a reporter as being "like Palm Springs, but without the riff-raff"), Mitchum spent 43 days (February 16 to March 30) at a Castaic, California, prison farm. Life photographers were permitted to take photos of him mopping up in his prison uniform. The arrest inspired the exploitation film She Shoulda Said No! (1949), which starred Leeds. Mitchum's conviction was later overturned by the Los Angeles court and district attorney's office on January 31, 1951, after being exposed as a setup.
Despite Mitchum's legal troubles and problems without his studio, his popularity was not harmed and films released immediately after his arrest were box-office hits. Rachel and the Stranger (1948) featured Mitchum in a supporting role as a mountain man competing for the hand of Loretta Young, the indentured servant and wife of William Holden. In the film adaptation of John Steinbeck's novella The Red Pony (1949), he appeared as a trusted cowhand to a ranching family. He returned to in The Big Steal (also 1949), where he reunited with Jane Greer in an early Don Siegel film.
Mainstream stardom in the 1950s and 1960s
In Where Danger Lives (1950), Mitchum played a doctor who comes between a mentally unbalanced Faith Domergue and cuckolded Claude Rains. The Racket was a noir remake of the early crime drama The Racket (1928), and featured Mitchum as a police captain fighting corruption in his precinct. The Josef von Sternberg film, Macao (1952), had Mitchum as a victim of mistaken identity at an exotic resort casino, playing opposite Jane Russell. Otto Preminger's Angel Face was the first of three collaborations between Mitchum and British stage actress Jean Simmons. Mitchum plays an ambulance driver who allows a murderously insane heiress to fatally seduce him.
Mitchum was fired from Blood Alley (1955) over his conduct, reportedly having thrown the film's transportation manager into San Francisco Bay. According to Sam O'Steen's memoir Cut to the Chase, Mitchum showed up on-set after a night of drinking and tore apart a studio office when they did not have a car ready for him. Mitchum walked off the set of the third day of filming Blood Alley, claiming he could not work with the director. Because Mitchum was showing up late and behaving erratically, producer John Wayne, after failing to obtain Humphrey Bogart as a replacement, took over the role himself.
Following a series of conventional Westerns and , as well as the Marilyn Monroe adventure vehicle River of No Return (1954), Mitchum appeared in The Night of the Hunter (1955), Charles Laughton's only film as director. Based on a novel by Davis Grubb, the thriller starred Mitchum as a monstrous criminal posing as a preacher to find money hidden by his cellmate in the man's home. His performance as Reverend Harry Powell is considered by many to be one of the best of his career. Stanley Kramer's melodrama Not as a Stranger, also released in 1955, was a box-office hit. The film starred Mitchum against type, as an idealistic young doctor, who marries an older nurse (Olivia de Havilland), only to question his morality many years later. However, the film was not well received, with most critics pointing out that Mitchum, Frank Sinatra, and Lee Marvin were all too old for their characters. Olivia de Havilland received top billing over Mitchum and Sinatra.
On March 8, 1955, Mitchum formed DRM (Dorothy and Robert Mitchum) Productions to produce five films for United Artists; four films were produced. The first film was Bandido (1956). Following a succession of average Westerns and the poorly received Foreign Intrigue (1956), Mitchum starred in the first of three films with Deborah Kerr. The John Huston war drama Heaven Knows, Mr. Allison, cast Mitchum as a Marine corporal shipwrecked on a Pacific Island with a nun, Sister Angela (Deborah Kerr), as his sole companion. In this character study they struggle with the elements, the Japanese garrison, and their growing feelings for one-another. The film was nominated for two Academy Awards, including Best Actress and Best Adapted Screenplay. For his role, Mitchum was nominated for a BAFTA Award for Best Foreign Actor. In the World War II submarine classic The Enemy Below (1956), Mitchum played the captain of a US Navy destroyer who matches wits with a wily German U-boat captain Curt Jurgens, who starred with Mitchum again in the 1962 World War II epic The Longest Day.
Thunder Road (1958), the second DRM Production, was loosely based on an incident in which a driver transporting moonshine was said to have fatally crashed on Kingston Pike in Knoxville, Tennessee, somewhere between Bearden Hill and Morrell Road. According to Metro Pulse writer Jack Renfro, the incident occurred in 1952 and may have been witnessed by James Agee, who passed the story on to Mitchum. He starred, produced, co-wrote the screenplay, and is rumored to have directed much of the film. It costars his son James, as his on-screen brother, in a role originally intended for Elvis Presley. Mitchum also co-wrote (with Don Raye) the theme song, "The Ballad of Thunder Road".
Mitchum returned to Mexico for The Wonderful Country (1959) with Julie London, and Ireland for A Terrible Beauty/The Night Fighters for the last of his DRM Productions.
Mitchum and Kerr reunited for the Fred Zinnemann film The Sundowners (1960), playing an Australia husband and wife struggling in the sheep industry during the Depression. The film received five Oscar nominations, and Mitchum earned the year's National Board of Review award for Best Actor for his performance. The award also recognized his performance in the Vincente Minnelli Western drama Home from the Hill (also 1960). He was teamed with former leading ladies Kerr and Simmons, as well as Cary Grant, for the Stanley Donen comedy The Grass Is Greener the same year.
Mitchum's performance as the menacing rapist Max Cady in Cape Fear (1962) brought him further renown for playing cold, predatory characters. The 1960s were marked by a number of lesser films, including the Shirley MacLaine comedy-musical What a Way to Go! (1964), the Howard Hawks Western El Dorado (1967), a remake of Rio Bravo (1959) (in which Mitchum took over Dean Martin's role of the drunk who comes to the aid of John Wayne's character), and another WWII epic, Anzio (1968). He teamed with Martin again for the 1968 Western 5 Card Stud, playing a homicidal preacher.
Later work
Mitchum made a departure from his typical screen persona with the 1970 David Lean film Ryan's Daughter, in which he starred as Charles Shaughnessy, a mild-mannered schoolmaster in World War I–era Ireland. At the time of filming Mitchum's recent films had been critical and commercial flops, and he was going through a personal crisis that had him considering suicide. Screenwriter Robert Bolt told him that he could do so after the film was finished and that he would personally pay for his burial. Though the film was nominated for four Academy Awards (winning two) and Mitchum was much publicized as a contender for a Best Actor nomination, he was not nominated. George C. Scott won the award for his powerful performance in Patton, a project Mitchum had rejected as glorifying war.
The 1970s featured Mitchum in a number of well-received crime dramas. The Friends of Eddie Coyle (1973) had the actor playing an aging Boston hoodlum caught between the Feds and his criminal friends. Sydney Pollack's The Yakuza (1974) transplanted the typical story arc to the Japanese underworld. He also appeared in 1976's Midway about a crucial 1942 World War II battle. Mitchum's stint as an aging Philip Marlowe in the Raymond Chandler adaptation Farewell, My Lovely (1975) (a re-make of 1944's Murder My Sweet) was sufficiently well received by audiences and critics for him to reprise the role in 1978's The Big Sleep, a remake of the 1946 film of the same title.
In 1982, Mitchum played Coach Delaney in the film adaptation of playwright/actor Jason Miller's 1973 Pulitzer Prize-winning play That Championship Season.
At the premiere for That Championship Season, Mitchum, while intoxicated, assaulted a female reporter and threw a basketball that he was holding (a prop from the film) at a female photographer from Time magazine, injuring her neck and knocking out two of her teeth. She sued him for $30 million for damages. The suit eventually "cost him his salary from the film".
That Championship Season may have indirectly led to another debacle for Mitchum several months later. In a February 1983 Esquire interview, he made several racist, anti-Semitic and sexist statements, including, when asked if the Holocaust occurred, responded "so the Jews say." Following the widespread negative response, he apologized a month later, saying that his statements were "prankish" and "foreign to my principle". He claimed that the problem had begun when he recited a racist monologue from his role in That Championship Season, the writer believing the words to be his own. Mitchum, who claimed that he had only reluctantly agreed to the interview, then decided to "string... along" the writer with even more incendiary statements.
Mitchum expanded to television work with the 1983 miniseries The Winds of War. The big-budget Herman Wouk story aired on ABC, starring Mitchum as naval officer "Pug" Henry and Victoria Tennant as Pamela Tudsbury, and examined the events leading up to America's involvement in World War II. He returned to the role in 1988's War and Remembrance, which continued the story through the end of the war.
In 1984, Mitchum entered the Betty Ford Center in Palm Springs, California for treatment of alcoholism.
He played George Hazard's father-in-law in the 1985 miniseries North and South, which also aired on ABC.
Mitchum starred opposite Wilford Brimley in the 1986 made-for-TV movie Thompson's Run. A hardened con (Mitchum), being transferred from a federal penitentiary to a Texas institution to finish a life sentence as a habitual criminal, is freed at gunpoint by his niece (played by Kathleen York). The cop (Brimley) who was transferring him, and has been the con's lifelong friend and adversary for over 30 years, vows to catch the twosome.
In 1987, Mitchum was the guest-host on Saturday Night Live, where he played private eye Philip Marlowe for the last time in the parody sketch, "Death Be Not Deadly". The show ran a short comedy film he made (written and directed by his daughter, Trina) called Out of Gas, a mock sequel to Out of the Past. (Jane Greer reprised her role from the original film.) He also was in Bill Murray's 1988 comedy film, Scrooged.
In 1991, Mitchum was given a lifetime achievement award from the National Board of Review of Motion Pictures, in the same year he received the Telegatto award and in 1992 the Cecil B. DeMille Award from the Golden Globe Awards.
Mitchum continued to act in films until the mid-1990s, such as in Jim Jarmusch's Dead Man, and he narrated the Western Tombstone. He also appeared, in contrast to his role as the antagonist in the original, as a protagonist police detective in Martin Scorsese's remake of Cape Fear, but the actor gradually slowed his workload. His last film appearance was a small but pivotal role in the television biographical film, James Dean: Race with Destiny, playing Giant director George Stevens. His last starring role was in the 1995 Norwegian movie Pakten.
Music
One of the lesser-known aspects of Mitchum's career was his foray into music as a singer. Critic Greg Adams writes, "Unlike most celebrity vocalists, Robert Mitchum actually had musical talent." Mitchum's voice was often used instead of that of a professional singer when his character sang in his films. Notable productions featuring Mitchum's own singing voice included Rachel and the Stranger, River of No Return, and The Night of the Hunter. After hearing traditional calypso music and meeting artists such as Mighty Sparrow and Lord Invader while filming Heaven Knows, Mr. Allison in the Caribbean islands of Tobago, he recorded Calypso – is like so ... in March 1957. On the album, released through Capitol Records, he emulated the calypso sound and style, even adopting the style's unique pronunciations and slang. A year later, he recorded a song he had written for Thunder Road, titled "The Ballad of Thunder Road". The country-style song became a modest hit for Mitchum, reaching number 69 on the Billboard Pop Singles chart. The song was included as a bonus track on a successful reissue of Calypso ... and helped market the film to a wider audience.
Although Mitchum continued to use his singing voice in his film work, he waited until 1967 to record his follow-up record, That Man, Robert Mitchum, Sings. The album, released by Nashville-based Monument Records, took him further into country music, and featured songs similar to "The Ballad of Thunder Road". "Little Old Wine Drinker Me", the first single, was a top-10 hit at country radio, reaching number nine there, and crossed over onto mainstream radio, where it peaked at number 96. Its follow-up, "You Deserve Each Other", also charted on the Billboard Country Singles chart. He sang the title song to the Western Young Billy Young, made in 1969.
Albums
Singles
Personal life
Mitchum's sons, James and Christopher, were actors, and his daughter, Petrine Day Mitchum, a writer. His grandchildren, Bentley Mitchum and Carrie Mitchum, are actors, as was his younger brother, John, who died in 2001. Another grandson, Kian, is a successful model.
A lifelong heavy smoker, Mitchum died on July 1, 1997, in Santa Barbara, California, due to complications of lung cancer and emphysema. He was five weeks shy of his 80th birthday. His body was cremated and his ashes scattered at sea, though there is a plot marker in the Odd Fellows Cemetery in Delaware. He was survived by his wife of 57 years, Dorothy Mitchum (May 2, 1919 – April 12, 2014, Santa Barbara, California, aged 94).
Reception, acting style and legacy
Mitchum is regarded by some critics as one of the finest actors of the Golden Age of Hollywood. Roger Ebert called him "the soul of film noir". Mitchum, however, was self-effacing; in an interview with Barry Norman for the BBC about his contribution to cinema, Mitchum stopped Norman in mid-flow and in his typical nonchalant style, said, "Look, I have two kinds of acting. One on a horse and one off a horse. That's it." He had also succeeded in annoying some of his fellow actors by voicing his puzzlement at those who viewed the profession as challenging and hard work. He is quoted as having said in the Norman interview that acting was actually very simple and that his job was to "show up on time, know his lines, hit his marks, and go home". Mitchum had a habit of marking most of his appearances in the script with the letters "n.a.r.", which meant "no action required", and also possessed a photographic memory that allowed him to remember lines with relative ease.
Mitchum's subtle and understated acting style often garnered him criticism of sleepwalking through his performances. The directors who worked with him however had nothing but praise for him. Charles Laughton, who directed him in The Night of the Hunter, considered Mitchum to be one of the best actors in the world and believed that he would have been the greatest Macbeth. John Huston felt that Mitchum was on the same pedestal of actors like Marlon Brando, Richard Burton and Laurence Olivier. Howard Hawks praised Mitchum for being a hard worker, labeling the actor a "fraud" for pretending to not care about acting. Robert De Niro, Clint Eastwood, Michael Madsen and Mark Rylance have cited Mitchum as one of their favorite actors.
AFI's 100 Years...100 Stars lists Mitchum as the 23rd-greatest male star of classic Hollywood cinema. AFI also recognized his performances as the menacing rapist Max Cady and Reverend Harry Powell as the 28th and 29th greatest screen villains of all time as part of AFI's 100 Years...100 Heroes and Villains. He provided the voice of the famous American Beef Council commercials that touted "Beef ... it's what's for dinner", from 1992 until his death.
A "Mitchum's Steakhouse" operated in Trappe, Maryland, where Mitchum and his family lived from 1959 to 1965.
Documentaries
2017 : James Stewart/Robert Mitchum: The Two Faces of America directed by Gregory Monro
Filmography
References
Citations
General sources
Mitchum, John. Them Ornery Mitchum Boys: The Adventures of Robert and John Mitchum. Pacifica, California: Creatures at Large, 1989. .
Olson, James and Randy Roberts. John Wayne: American. Lincoln, Nebraska: Bison Books, 1997. .
O'Steen, Sam. Cut to the Chase: Forty-Five Years of Editing America's Favorite Movies. Los Angeles: Michael Wiese Productions, 2002. .
Roberts, Jerry. Mitchum: In His Own Words. New York: Limelight Editions, 2000. .
Server, Lee. Robert Mitchum: "Baby, I Don't Care". New York: St Martin's Press, 2001. .
Sound, Owen. TCM Film Guide: Leading Men: The 50 Most Unforgettable Actors of the Studio Era. San Francisco, California: Chronicle Books, 2006. .
Tomkies, Mike. The Robert Mitchum Story: "It Sure Beats Working". New York: Ballantine Books, 1972. .
External links
Profile at Turner Classic Movies
Photographs and literature
1917 births
1997 deaths
20th Century Fox contract players
20th-century American male actors
20th-century American memoirists
20th-century American male singers
20th-century American singers
American country singer-songwriters
American male composers
American male film actors
American male poets
American Methodists
American baritones
American people of Scotch-Irish descent
American people of Norwegian descent
California Republicans
Capitol Records artists
Cecil B. DeMille Award Golden Globe winners
Civilian Conservation Corps people
Combat medics
Connecticut Republicans
Deaths from cancer in California
Deaths from emphysema
Deaths from lung cancer
Haaren High School alumni
Male actors from Bridgeport, Connecticut
Male Western (genre) film actors
Military personnel from Bridgeport, Connecticut
Military personnel from Connecticut
Mitchum family
Monument Records artists
Overturned convictions in the United States
People from Hell's Kitchen, Manhattan
RKO Pictures contract players
United States Army personnel of World War II
United States Army soldiers
Singer-songwriters from New York (state) | false | [
"Clark Gable (1901–1960) was an American actor and producer who appeared in over 70 feature films and several short films. Gable first began acting in stage productions, before his film debut in 1924. After many minor roles, Gable landed a leading role in 1931, subsequently becoming one of the most dominant leading men in Hollywood. He often acted alongside reoccurring leading ladies: six films with Jean Harlow, seven with Myrna Loy, and eight with Joan Crawford, among many others.\n\nGable's first leading role was opposite Crawford in Dance, Fools, Dance (1931), the first of eight films in which they appeared together. That same year, he also appeared in the gangster film The Secret Six, his first film with Harlow. In 1932, he acted alongside future wife Carole Lombard in No Man of Her Own. In his next role in Dancing Lady (1933), Gable appeared alongside Ted Healy and His Stooges and Fred Astaire, who was making his acting debut. Gable's role in the Frank Capra-directed It Happened One Night (1934) garnered him the Academy Award for Best Actor.\n\nFor his performance in Mutiny on the Bounty (1935), Gable was nominated for the Academy Award for Best Actor. He then appeared in San Francisco, which was the highest-grossing film of 1936. In 1937, he starred in Saratoga; his co-star Jean Harlow died during production. Gable then appeared in Too Hot to Handle (1938), the last of seven films with Myrna Loy. He then played Rhett Butler in Gone with the Wind (1939), acting alongside Vivien Leigh and Olivia de Havilland. The film was massively successful, winning the Academy Award for Best Picture, and remains the highest-grossing film of all time, adjusted for inflation. The following year, he starred with leading lady Hedy Lamarr in the King Vidor-directed Comrade X. Also released that year, Strange Cargo would be Gable's last film with Crawford. His final film before joining the United States Army Air Forces was Somewhere I'll Find You (1942). During the war, he narrated the propaganda film Wings Up (1942) and filmed Combat America (1945).\n\nGable's first film after returning from combat was the Victor Fleming-directed Adventure (1945). His next role was alongside leading ladies Ava Gardner and Deborah Kerr in The Hucksters (1947). Gable next collaborated with Gardner and Grace Kelly in the John Ford-directed Mogambo (1953), a remake of Gable's earlier film Red Dust (1932). In 1958, Gable appeared in Run Silent, Run Deep, which also featured Burt Lancaster and Don Rickles. That same year, he starred opposite Doris Day and Mamie Van Doren in Teacher's Pet, which garnered him a nomination for Golden Globe Award for Best Actor – Motion Picture Musical or Comedy. Gable acted alongside Sophia Loren in It Started in Naples (1960). Gable's final film appearance was in the John Huston-directed western The Misfits (1961), released posthumously. It was also Marilyn Monroe's last acting role.\n\nFilm\n\nWorld War II propaganda films\n\nShort films\n\nReferences\n\nExternal links \n \n \n Clark Gable at the Rotten Tomatoes\n\nGable, Clark\nGable, Clark",
"Krishnam Raju is an Indian actor who acted in more than 190 films. Krishnam Raju entered Tollywood in 1966 with the film Chilaka Gorinka, directed by Kotayya Pratyagatma alongside Krishna Kumari. The film won the Nandi Award for Best Feature Film - Silver for that year. Later he acted in the mythological film Shri Krishnavataram, which also stars N. T. Rama Rao. He acted in many films with the established actors N. T. Rama Rao and Akkineni Nageswara Rao. He also acted in many films with the established actresses Krishna Kumari, Rajasulochana, Jamuna and Kanchana.\n\nKrishnam Raju acted alongside Kanchana in Nenante Nene and later he acted in Bhale Abbayilu, the Telugu remake of Yash Chopra's 1965 film Waqt. Later he acted in films such as Buddhimantudu, Marali, Mallee Pelli and Jai Jawan. He acted opposite Bollywood actress Rekha in Amma Kosam, which was her first film as an actress. Later he acted in films such as Anuradha, Bhagyavantudu and Bangaru Talli, the remake of critically acclaimed 1957 Hindi film Mother India. Later he acted in films such as Muhammad bin Tughluq portraying the role of Islamic scholar Ibn Battuta, Raj Mahal, Hantakulu Devaantakulu opposite Rajasulochana, Manavudu Danavudu opposite Krishna Kumari, Neeti Nijayitee opposite Kanchana and Vinta Dampatulu opposite Jamuna. Later he acted in films such as Badi Panthulu, Bala Mitrula Katha, Jeevana Tarangalu and Kanna Koduku. In most of the films he acted as antihero, villain and supporting roles and in lead roles in a few films.\n\nKrishnam acted in Bantrotu Bharya, which marks the first collaboration of Krishnam Raju with Dasari Narayana Rao. Later he acted in the critically acclaimed film Krishnaveni opposite Vanisri, directed by V. Madhusudhan Rao. The film marks the debut of Krishnam Raju as a producer under his own production house Gopi Krishna Movies. Later he acted in Parivartana opposite Jamuna, Kanchana and Lakshmi and in Bharati opposite Jamuna, Iddaru Iddare and Yavvanam Katesindi. Later he acted in Bhakta Kannappa portraying the roles of Arjuna and Kannappa Nayanar directed by Bapu, which is the unique Telugu film to win the National Film Award for Best Audiography. Later he acted in Kurukshetram portraying the role of Karna, directed by Kamalakara Kameswara Rao. Later he acted in Amaradeepam, which marks the first collaboration of Krishnam Raju with K. Raghavendra Rao. The film earned him the Filmfare Best Actor Award (Telugu) and the Nandi Award for Best Actor for the year 1977. Later he acted in films such as Jeevana Teeralu, Manushulu Chesina Dongalu and Sati Savitri. Later he acted in the lavishly made Katakataala Rudraiah, which grossed , made on a budget of . Later he acted in Mana Voori Pandavulu, produced by him and Jaya Krishna. The film garnered the Filmfare Best Film Award (Telugu) for the year 1978 and Krishnam Raju shared the award with Jaya Krishna. Katakataala Rudraiah and Mana Voori Pandavulu were released within a gap of 10 days and both the films became blockbusters. Later he acted in films such as Ramabanam, Andadu Aagadu in which he acts in a role of a spy which is parallel to James Bond and the film became a smash hit. Later he acted in Rangoon Rowdy, Shri Vinayaka Vijayamu portraying the role of Lord Shiva. Later he acted in films such as Shivamettina Satyam, Kalyana Chakravarti and Alludu Pattina Bharatam, which was directed by K. Viswanath. Later he acted in Sita Ramulu, Bebbuli and Prema Tarangalu, the Telugu remake of 1978 Bollywood blockbuster Muqaddar Ka Sikandar. In 1981, he acted in Aadavaallu Meeku Joharlu directed by K. Balachander. In the same year he acted in Agni Poolu which was based on Yaddanapudi Sulochana Rani's novel of the same name. Later he acted in the musical hit, Puli Bidda, Taxi Driver, Ragile Jwala, Guvvala Janta, Rama Lakshmanulu, Madhura Swapnam, Talli Kodukula Anubandham, Nipputo Chelagaatam, Golconda Abbulu, Jaggu, Pralaya Rudrudu and critically acclaimed Trishulam. Later he acted in Nijam Chebite Nerama!, Adavi Simhalu, Puli Bebbuli, Kotikokkadu and Dharmaatmudu.\n\nIn 1984, Krishnam Raju acted in Yuddham, Sardar, Babulugaadi Debba, Kondaveeti Nagulu and S. P. Bhayankar. Later, he acted in the Tollywood industrial hit Bobbili Brahmanna, which earned him the Filmfare Best Actor Award (Telugu) and the Nandi Award for Best Actor. He also remade the film in Hindi as Dharm Adhikari with Dilip Kumar and Jeetendra in 1986. Later, he acted in films such as Raraju, Bharatamlo Shankaravam, Rowdy, Bandee, Tirugubatu, Aggi Raju, Bullet, Ukku Manishi, Ravana Brahma, Neti Yugadharmam and Ugra Narasimham. In 1986, he acted in Tandra Paparayudu portraying the role of Tandra Paparayudu which earned him Filmfare Best Actor Award for the year 1986. The film was premiered at the 11th International Film Festival of India. Later, he acted in films such as Brahma Nayudu, Sardar Dharmanna and Marana Shasanam which earned him Filmfare Best Actor Award for the year 1987. In 1987, he acted in Vishwanatha Nayakudu portraying the role of Srikrishnadevaraya. Later, he acted in films such as Maarana Homam, Kirai Dada, Maa Inti Maha Raju, Antima Teerpu, Prithvi Raj, Prachanda Bharatam, Dharma Teja, Prana Snehitulu, Simha Swapnam, Shri Ramachandrudu, Bhagawan, Two Town Rowdy, Yama Dharma Raju and Neti Siddhartha.\n\nIn 1991, Krishnam Raju acted in Vidhata, Bava Bavamaridi, Jailor Gaari Abbayi, Andaroo Andare, Gangmaster. In 1994, he acted in Palnati Pourusham which earned him Filmfare Best Actor Award (Telugu). Later he acted in Rikshaw Rudraiah, Simha Garjana, Nayudugaari Kutumbam, Tata Manavadu, Kutumba Gowravam and Maa Nannaki Pelli which won Nandi Award for Akkineni Award for Best Home-viewing Feature Film. In 1997, he entered Sandalwood and acted in two Kannada films viz Hai Bangalore and Simhada Mari. Later he acted in Sultan, Vanshoddharakudu and Neeku Nenu Naaku Nuvvu, which won Nandi Award for Akkineni Award for Best Home-viewing Feature Film. Later he acted in Raam and Billa, a film of the Don film series and acted with Prabhas for the first time.\nLater he acted in Thakita Thakita and Rebel. Rebel marks the second innings of his production house, Gopi Krishna Movies. Krishnam Raju said in an interview that he would produce films continuously under the banner. Later he acted in Chandee and India's first 3D historical film, Rudramadevi, where he portrays the role of Ganapati Devudu, the father of Rudramadevi.\n\nAs an actor\n\nAs a producer\n\nNotes\n\nReferences\n\nFilmography\nIndian filmographies\nMale actor filmographies"
]
|
[
"Robert Mitchum",
"Film noir",
"what is the film noir?",
"Mitchum was initially known for his work in film noir.",
"what was his role",
"His first foray into the genre was a supporting role in the 1944 B-movie When Strangers Marry,",
"how did that movie do?",
"I don't know.",
"who acted alongside with him",
"him playing against type as a troubled, sensitive man entangled in the affairs of his brother (Robert Taylor) and his brother's suspicious wife (Katharine Hepburn)."
]
| C_1b646414938c45e983367b2ad6a17667_0 | did teh movie win any awards | 5 | Did the movie When Strangers Marry win any awards? | Robert Mitchum | Mitchum was initially known for his work in film noir. His first foray into the genre was a supporting role in the 1944 B-movie When Strangers Marry, about newlyweds and a New York City serial killer. Undercurrent, another of Mitchum's early noir films, featured him playing against type as a troubled, sensitive man entangled in the affairs of his brother (Robert Taylor) and his brother's suspicious wife (Katharine Hepburn). John Brahm's The Locket (1946) featured Mitchum as bitter ex-boyfriend to Laraine Day's femme fatale. Raoul Walsh's Pursued (1947) combined Western and noir styles, with Mitchum's character attempting to recall his past and find those responsible for killing his family. Crossfire (also 1947) featured Mitchum as a member of a group of World War II soldiers, one of whom kills a Jewish man. It featured themes of anti-Semitism and the failings of military training. The film, directed by Edward Dmytryk, earned five Academy Award nominations. Following Crossfire, Mitchum starred in Out of the Past (also called Build My Gallows High), directed by Jacques Tourneur and featuring the cinematography of Nicholas Musuraca. Mitchum played Jeff Markham, a small-town gas-station owner and former investigator, whose unfinished business with gambler Whit Sterling (Kirk Douglas) and femme fatale Kathie Moffett (Jane Greer) comes back to haunt him. On September 1, 1948, after a string of successful films for RKO, Mitchum and actress Lila Leeds were arrested for possession of marijuana. The arrest was the result of a sting operation designed to capture other Hollywood partiers, as well, but Mitchum and Leeds did not receive the tipoff. After serving a week at the county jail (he described the experience to a reporter as being "like Palm Springs, but without the riff-raff"), Mitchum spent 43 days (February 16 to March 30) at a Castaic, California, prison farm. Life photographers were permitted to take photos of him mopping up in his prison uniform. The arrest inspired the exploitation film She Shoulda Said No! (1949), which starred Leeds. The conviction was later overturned by the Los Angeles court and district attorney's office on January 31, 1951, after being exposed as a setup. Whether despite, or because of, Mitchum's troubles with the law and his studio, his films released immediately after his arrest were box-office hits. Rachel and the Stranger (1948) featured Mitchum in a supporting role as a mountain man competing for the hand of Loretta Young, the indentured servant and wife of William Holden. In the film adaptation of John Steinbeck's novella The Red Pony (1949), he appeared as a trusted cowhand to a ranching family. He returned to film noir in The Big Steal (also 1949), where he joined Jane Greer in an early Don Siegel film. CANNOTANSWER | The film, directed by Edward Dmytryk, earned five Academy Award nominations. | Robert Charles Durman Mitchum (August 6, 1917 – July 1, 1997) was an American actor, director, author, poet, composer, and singer. He rose to prominence
with an Academy Award nomination for the Best Supporting Actor for The Story of G.I. Joe (1945), followed by starring in several classic film noirs. His acting is generally considered a forerunner of the antiheroes prevalent in film during the 1950s and 1960s. His best-known films include Thirty Seconds Over Tokyo (1944), Out of the Past (1947), River of No Return (1954), The Night of the Hunter (1955), Thunder Road (1958), Cape Fear (1962), El Dorado (1966), Ryan's Daughter (1970) and The Friends of Eddie Coyle (1973). He is also known for his television role as U.S. Navy Captain Victor "Pug" Henry in the epic miniseries The Winds of War (1983) and sequel War and Remembrance (1988).
Mitchum is rated number 23 on the American Film Institute's list of the greatest male stars of classic American cinema.
Early life
Mitchum was born in Bridgeport, Connecticut, on August 6, 1917, into a Scots-Irish/Norwegian Methodist family. His father, James Thomas Mitchum, was a shipyard and railroad worker of Scots-Irish descent, and his mother, Ann Harriet Gunderson, was a Norwegian immigrant and sea captain's daughter. His older sister, Annette (known as Julie Mitchum during her acting career), was born in 1914. James was crushed to death in a railyard accident in Charleston, South Carolina, in February 1919. His widow was awarded a government pension, and soon realized she was pregnant. Her third child, John, was born in September of that year.
Ann married Lieutenant Hugh "The Major" Cunningham Morris, a former Royal Naval Reserve officer. They had a daughter, Carol Morris, born July 1927 on the family farm in Delaware. When all of the children were old enough to attend school, Ann found employment as a linotype operator for the Bridgeport Post.
As a child, Mitchum was known as a prankster, often involved in fistfights and mischief. In 1929 his mother sent the twelve-year-old to live with her parents in Felton, Delaware; the boy was promptly expelled from middle school for scuffling with the principal. A year later he moved in with his older sister in Manhattan's Hell's Kitchen. After being expelled from Haaren High School he left his sister and traveled throughout the country, hopping freight cars and taking a number of jobs, including ditch-digging for the Civilian Conservation Corps and professional boxing. He later stated that at age 14 in Savannah, Georgia, he was arrested for vagrancy and put in a local chain gang. By Mitchum's account, he escaped and returned to his family in Delaware. During this time, while recovering from injuries that nearly cost him a leg, he met Dorothy Spence, whom he would later marry. He soon went back on the road, eventually "riding the rails" to California.
Acting
Getting established
In the mid-1930s Julie Mitchum moved to the West Coast in the hope of acting in movies, and the rest of the Mitchum family soon followed her to Long Beach, California. Robert arrived in 1936. During this time, Mitchum worked as a ghostwriter for astrologer Carroll Righter. Julie convinced him to join the local theater guild with her. At The Players Guild of Long Beach, Mitchum worked as a stagehand and occasional bit-player in company productions. He also wrote several short pieces which were performed by the guild. According to Lee Server's biography (Robert Mitchum: Baby, I Don't Care), Mitchum put his talent for poetry to work writing song lyrics and monologues for Julie's nightclub performances.
In 1940, he returned to Delaware to marry Dorothy Spence, and they moved back to California. He gave up his artistic pursuits at the birth of their first child James, nicknamed Josh, and two more children, Chris and Petrine, followed. Mitchum found steady employment as a machine operator during World War II with the Lockheed Aircraft Corporation, but the noise of the machinery damaged his hearing. He also suffered a nervous breakdown (which resulted in temporary vision problems), due to job-related stress.
He then sought work as a film actor, performing initially as an extra and in small speaking parts. His agent got him an interview with Harry Sherman, the producer of Paramount's Hopalong Cassidy western film series, which starred William Boyd; Mitchum was hired to play minor villainous roles in several films in the series during 1942 and 1943. He went uncredited as a soldier in the 1943 film The Human Comedy starring Mickey Rooney. His first on-screen credit came in 1943 as a Marine private in the Randolph Scott war film Gung Ho! Mitchum continued to find work as an extra and supporting actor in numerous productions for various studios.
After impressing director Mervyn LeRoy during the making of Thirty Seconds Over Tokyo, Mitchum signed a seven-year contract with RKO Radio Pictures. He was groomed for B-Western stardom in a series of Zane Grey adaptations. Following the moderately successful Western Nevada, RKO lent Mitchum to United Artists for a prominent supporting actor role in The Story of G.I. Joe (1945). In the film, he portrayed war-weary officer Bill Walker (based on Captain Henry T. Waskow), who remains resolute despite the troubles he faces. The film, which followed the life of an ordinary soldier through the eyes of journalist Ernie Pyle (played by Burgess Meredith), became an instant critical and commercial success. Shortly after filming, Mitchum was drafted into the United States Army, serving at Fort MacArthur, California, as a medic. At the 1946 Academy Awards, The Story of G.I. Joe was nominated for four Oscars, including Mitchum's only nomination for an Academy Award, for Best Supporting Actor. He finished the year with a Western (West of the Pecos) and a story of returning Marine veterans (Till the End of Time), before migrating to a genre that came to define Mitchum's career and screen persona: film noir.
Film noir
Mitchum was initially known for his work in film noir. His first foray into the genre was a supporting role in the 1944 B-movie When Strangers Marry, about newlyweds and a New York City serial killer. Another early noir, Undercurrent, featured him as a troubled, sensitive man entangled in the affairs of his tycoon brother (Robert Taylor) and his brother's suspicious wife (Katharine Hepburn). John Brahm's The Locket (1946) featured Mitchum as a bitter ex-boyfriend to Laraine Day's femme fatale. Raoul Walsh's Pursued (1947) combined the Western and noir genres, with Mitchum's character attempting to recall his past and find those responsible for killing his family. Crossfire (also 1947) featured Mitchum as a member of a group of returned World War II soldiers embroiled in a murder investigation for an act committed by an anti-Semite in their ranks. The film, directed by Edward Dmytryk and starring Robert Ryan and Robert Young, earned five Academy Award nominations.
Following Crossfire, Mitchum starred in Out of the Past (also called Build My Gallows High), directed by Jacques Tourneur and featuring the cinematography of Nicholas Musuraca. In his best-known noir role, Mitchum played Jeff Markham, a small-town gas-station owner and former investigator, whose unfinished business with gambler Whit Sterling (Kirk Douglas) and femme fatale Kathie Moffett (Jane Greer) comes back to haunt him.
On September 1, 1948, after a string of successful films for RKO, Mitchum and actress Lila Leeds were arrested for possession of marijuana. The bust was the result of a sting operation designed to capture other Hollywood partiers as well, but Mitchum and Leeds did not receive the tipoff. After serving a week at the county jail (he described the experience to a reporter as being "like Palm Springs, but without the riff-raff"), Mitchum spent 43 days (February 16 to March 30) at a Castaic, California, prison farm. Life photographers were permitted to take photos of him mopping up in his prison uniform. The arrest inspired the exploitation film She Shoulda Said No! (1949), which starred Leeds. Mitchum's conviction was later overturned by the Los Angeles court and district attorney's office on January 31, 1951, after being exposed as a setup.
Despite Mitchum's legal troubles and problems without his studio, his popularity was not harmed and films released immediately after his arrest were box-office hits. Rachel and the Stranger (1948) featured Mitchum in a supporting role as a mountain man competing for the hand of Loretta Young, the indentured servant and wife of William Holden. In the film adaptation of John Steinbeck's novella The Red Pony (1949), he appeared as a trusted cowhand to a ranching family. He returned to in The Big Steal (also 1949), where he reunited with Jane Greer in an early Don Siegel film.
Mainstream stardom in the 1950s and 1960s
In Where Danger Lives (1950), Mitchum played a doctor who comes between a mentally unbalanced Faith Domergue and cuckolded Claude Rains. The Racket was a noir remake of the early crime drama The Racket (1928), and featured Mitchum as a police captain fighting corruption in his precinct. The Josef von Sternberg film, Macao (1952), had Mitchum as a victim of mistaken identity at an exotic resort casino, playing opposite Jane Russell. Otto Preminger's Angel Face was the first of three collaborations between Mitchum and British stage actress Jean Simmons. Mitchum plays an ambulance driver who allows a murderously insane heiress to fatally seduce him.
Mitchum was fired from Blood Alley (1955) over his conduct, reportedly having thrown the film's transportation manager into San Francisco Bay. According to Sam O'Steen's memoir Cut to the Chase, Mitchum showed up on-set after a night of drinking and tore apart a studio office when they did not have a car ready for him. Mitchum walked off the set of the third day of filming Blood Alley, claiming he could not work with the director. Because Mitchum was showing up late and behaving erratically, producer John Wayne, after failing to obtain Humphrey Bogart as a replacement, took over the role himself.
Following a series of conventional Westerns and , as well as the Marilyn Monroe adventure vehicle River of No Return (1954), Mitchum appeared in The Night of the Hunter (1955), Charles Laughton's only film as director. Based on a novel by Davis Grubb, the thriller starred Mitchum as a monstrous criminal posing as a preacher to find money hidden by his cellmate in the man's home. His performance as Reverend Harry Powell is considered by many to be one of the best of his career. Stanley Kramer's melodrama Not as a Stranger, also released in 1955, was a box-office hit. The film starred Mitchum against type, as an idealistic young doctor, who marries an older nurse (Olivia de Havilland), only to question his morality many years later. However, the film was not well received, with most critics pointing out that Mitchum, Frank Sinatra, and Lee Marvin were all too old for their characters. Olivia de Havilland received top billing over Mitchum and Sinatra.
On March 8, 1955, Mitchum formed DRM (Dorothy and Robert Mitchum) Productions to produce five films for United Artists; four films were produced. The first film was Bandido (1956). Following a succession of average Westerns and the poorly received Foreign Intrigue (1956), Mitchum starred in the first of three films with Deborah Kerr. The John Huston war drama Heaven Knows, Mr. Allison, cast Mitchum as a Marine corporal shipwrecked on a Pacific Island with a nun, Sister Angela (Deborah Kerr), as his sole companion. In this character study they struggle with the elements, the Japanese garrison, and their growing feelings for one-another. The film was nominated for two Academy Awards, including Best Actress and Best Adapted Screenplay. For his role, Mitchum was nominated for a BAFTA Award for Best Foreign Actor. In the World War II submarine classic The Enemy Below (1956), Mitchum played the captain of a US Navy destroyer who matches wits with a wily German U-boat captain Curt Jurgens, who starred with Mitchum again in the 1962 World War II epic The Longest Day.
Thunder Road (1958), the second DRM Production, was loosely based on an incident in which a driver transporting moonshine was said to have fatally crashed on Kingston Pike in Knoxville, Tennessee, somewhere between Bearden Hill and Morrell Road. According to Metro Pulse writer Jack Renfro, the incident occurred in 1952 and may have been witnessed by James Agee, who passed the story on to Mitchum. He starred, produced, co-wrote the screenplay, and is rumored to have directed much of the film. It costars his son James, as his on-screen brother, in a role originally intended for Elvis Presley. Mitchum also co-wrote (with Don Raye) the theme song, "The Ballad of Thunder Road".
Mitchum returned to Mexico for The Wonderful Country (1959) with Julie London, and Ireland for A Terrible Beauty/The Night Fighters for the last of his DRM Productions.
Mitchum and Kerr reunited for the Fred Zinnemann film The Sundowners (1960), playing an Australia husband and wife struggling in the sheep industry during the Depression. The film received five Oscar nominations, and Mitchum earned the year's National Board of Review award for Best Actor for his performance. The award also recognized his performance in the Vincente Minnelli Western drama Home from the Hill (also 1960). He was teamed with former leading ladies Kerr and Simmons, as well as Cary Grant, for the Stanley Donen comedy The Grass Is Greener the same year.
Mitchum's performance as the menacing rapist Max Cady in Cape Fear (1962) brought him further renown for playing cold, predatory characters. The 1960s were marked by a number of lesser films, including the Shirley MacLaine comedy-musical What a Way to Go! (1964), the Howard Hawks Western El Dorado (1967), a remake of Rio Bravo (1959) (in which Mitchum took over Dean Martin's role of the drunk who comes to the aid of John Wayne's character), and another WWII epic, Anzio (1968). He teamed with Martin again for the 1968 Western 5 Card Stud, playing a homicidal preacher.
Later work
Mitchum made a departure from his typical screen persona with the 1970 David Lean film Ryan's Daughter, in which he starred as Charles Shaughnessy, a mild-mannered schoolmaster in World War I–era Ireland. At the time of filming Mitchum's recent films had been critical and commercial flops, and he was going through a personal crisis that had him considering suicide. Screenwriter Robert Bolt told him that he could do so after the film was finished and that he would personally pay for his burial. Though the film was nominated for four Academy Awards (winning two) and Mitchum was much publicized as a contender for a Best Actor nomination, he was not nominated. George C. Scott won the award for his powerful performance in Patton, a project Mitchum had rejected as glorifying war.
The 1970s featured Mitchum in a number of well-received crime dramas. The Friends of Eddie Coyle (1973) had the actor playing an aging Boston hoodlum caught between the Feds and his criminal friends. Sydney Pollack's The Yakuza (1974) transplanted the typical story arc to the Japanese underworld. He also appeared in 1976's Midway about a crucial 1942 World War II battle. Mitchum's stint as an aging Philip Marlowe in the Raymond Chandler adaptation Farewell, My Lovely (1975) (a re-make of 1944's Murder My Sweet) was sufficiently well received by audiences and critics for him to reprise the role in 1978's The Big Sleep, a remake of the 1946 film of the same title.
In 1982, Mitchum played Coach Delaney in the film adaptation of playwright/actor Jason Miller's 1973 Pulitzer Prize-winning play That Championship Season.
At the premiere for That Championship Season, Mitchum, while intoxicated, assaulted a female reporter and threw a basketball that he was holding (a prop from the film) at a female photographer from Time magazine, injuring her neck and knocking out two of her teeth. She sued him for $30 million for damages. The suit eventually "cost him his salary from the film".
That Championship Season may have indirectly led to another debacle for Mitchum several months later. In a February 1983 Esquire interview, he made several racist, anti-Semitic and sexist statements, including, when asked if the Holocaust occurred, responded "so the Jews say." Following the widespread negative response, he apologized a month later, saying that his statements were "prankish" and "foreign to my principle". He claimed that the problem had begun when he recited a racist monologue from his role in That Championship Season, the writer believing the words to be his own. Mitchum, who claimed that he had only reluctantly agreed to the interview, then decided to "string... along" the writer with even more incendiary statements.
Mitchum expanded to television work with the 1983 miniseries The Winds of War. The big-budget Herman Wouk story aired on ABC, starring Mitchum as naval officer "Pug" Henry and Victoria Tennant as Pamela Tudsbury, and examined the events leading up to America's involvement in World War II. He returned to the role in 1988's War and Remembrance, which continued the story through the end of the war.
In 1984, Mitchum entered the Betty Ford Center in Palm Springs, California for treatment of alcoholism.
He played George Hazard's father-in-law in the 1985 miniseries North and South, which also aired on ABC.
Mitchum starred opposite Wilford Brimley in the 1986 made-for-TV movie Thompson's Run. A hardened con (Mitchum), being transferred from a federal penitentiary to a Texas institution to finish a life sentence as a habitual criminal, is freed at gunpoint by his niece (played by Kathleen York). The cop (Brimley) who was transferring him, and has been the con's lifelong friend and adversary for over 30 years, vows to catch the twosome.
In 1987, Mitchum was the guest-host on Saturday Night Live, where he played private eye Philip Marlowe for the last time in the parody sketch, "Death Be Not Deadly". The show ran a short comedy film he made (written and directed by his daughter, Trina) called Out of Gas, a mock sequel to Out of the Past. (Jane Greer reprised her role from the original film.) He also was in Bill Murray's 1988 comedy film, Scrooged.
In 1991, Mitchum was given a lifetime achievement award from the National Board of Review of Motion Pictures, in the same year he received the Telegatto award and in 1992 the Cecil B. DeMille Award from the Golden Globe Awards.
Mitchum continued to act in films until the mid-1990s, such as in Jim Jarmusch's Dead Man, and he narrated the Western Tombstone. He also appeared, in contrast to his role as the antagonist in the original, as a protagonist police detective in Martin Scorsese's remake of Cape Fear, but the actor gradually slowed his workload. His last film appearance was a small but pivotal role in the television biographical film, James Dean: Race with Destiny, playing Giant director George Stevens. His last starring role was in the 1995 Norwegian movie Pakten.
Music
One of the lesser-known aspects of Mitchum's career was his foray into music as a singer. Critic Greg Adams writes, "Unlike most celebrity vocalists, Robert Mitchum actually had musical talent." Mitchum's voice was often used instead of that of a professional singer when his character sang in his films. Notable productions featuring Mitchum's own singing voice included Rachel and the Stranger, River of No Return, and The Night of the Hunter. After hearing traditional calypso music and meeting artists such as Mighty Sparrow and Lord Invader while filming Heaven Knows, Mr. Allison in the Caribbean islands of Tobago, he recorded Calypso – is like so ... in March 1957. On the album, released through Capitol Records, he emulated the calypso sound and style, even adopting the style's unique pronunciations and slang. A year later, he recorded a song he had written for Thunder Road, titled "The Ballad of Thunder Road". The country-style song became a modest hit for Mitchum, reaching number 69 on the Billboard Pop Singles chart. The song was included as a bonus track on a successful reissue of Calypso ... and helped market the film to a wider audience.
Although Mitchum continued to use his singing voice in his film work, he waited until 1967 to record his follow-up record, That Man, Robert Mitchum, Sings. The album, released by Nashville-based Monument Records, took him further into country music, and featured songs similar to "The Ballad of Thunder Road". "Little Old Wine Drinker Me", the first single, was a top-10 hit at country radio, reaching number nine there, and crossed over onto mainstream radio, where it peaked at number 96. Its follow-up, "You Deserve Each Other", also charted on the Billboard Country Singles chart. He sang the title song to the Western Young Billy Young, made in 1969.
Albums
Singles
Personal life
Mitchum's sons, James and Christopher, were actors, and his daughter, Petrine Day Mitchum, a writer. His grandchildren, Bentley Mitchum and Carrie Mitchum, are actors, as was his younger brother, John, who died in 2001. Another grandson, Kian, is a successful model.
A lifelong heavy smoker, Mitchum died on July 1, 1997, in Santa Barbara, California, due to complications of lung cancer and emphysema. He was five weeks shy of his 80th birthday. His body was cremated and his ashes scattered at sea, though there is a plot marker in the Odd Fellows Cemetery in Delaware. He was survived by his wife of 57 years, Dorothy Mitchum (May 2, 1919 – April 12, 2014, Santa Barbara, California, aged 94).
Reception, acting style and legacy
Mitchum is regarded by some critics as one of the finest actors of the Golden Age of Hollywood. Roger Ebert called him "the soul of film noir". Mitchum, however, was self-effacing; in an interview with Barry Norman for the BBC about his contribution to cinema, Mitchum stopped Norman in mid-flow and in his typical nonchalant style, said, "Look, I have two kinds of acting. One on a horse and one off a horse. That's it." He had also succeeded in annoying some of his fellow actors by voicing his puzzlement at those who viewed the profession as challenging and hard work. He is quoted as having said in the Norman interview that acting was actually very simple and that his job was to "show up on time, know his lines, hit his marks, and go home". Mitchum had a habit of marking most of his appearances in the script with the letters "n.a.r.", which meant "no action required", and also possessed a photographic memory that allowed him to remember lines with relative ease.
Mitchum's subtle and understated acting style often garnered him criticism of sleepwalking through his performances. The directors who worked with him however had nothing but praise for him. Charles Laughton, who directed him in The Night of the Hunter, considered Mitchum to be one of the best actors in the world and believed that he would have been the greatest Macbeth. John Huston felt that Mitchum was on the same pedestal of actors like Marlon Brando, Richard Burton and Laurence Olivier. Howard Hawks praised Mitchum for being a hard worker, labeling the actor a "fraud" for pretending to not care about acting. Robert De Niro, Clint Eastwood, Michael Madsen and Mark Rylance have cited Mitchum as one of their favorite actors.
AFI's 100 Years...100 Stars lists Mitchum as the 23rd-greatest male star of classic Hollywood cinema. AFI also recognized his performances as the menacing rapist Max Cady and Reverend Harry Powell as the 28th and 29th greatest screen villains of all time as part of AFI's 100 Years...100 Heroes and Villains. He provided the voice of the famous American Beef Council commercials that touted "Beef ... it's what's for dinner", from 1992 until his death.
A "Mitchum's Steakhouse" operated in Trappe, Maryland, where Mitchum and his family lived from 1959 to 1965.
Documentaries
2017 : James Stewart/Robert Mitchum: The Two Faces of America directed by Gregory Monro
Filmography
References
Citations
General sources
Mitchum, John. Them Ornery Mitchum Boys: The Adventures of Robert and John Mitchum. Pacifica, California: Creatures at Large, 1989. .
Olson, James and Randy Roberts. John Wayne: American. Lincoln, Nebraska: Bison Books, 1997. .
O'Steen, Sam. Cut to the Chase: Forty-Five Years of Editing America's Favorite Movies. Los Angeles: Michael Wiese Productions, 2002. .
Roberts, Jerry. Mitchum: In His Own Words. New York: Limelight Editions, 2000. .
Server, Lee. Robert Mitchum: "Baby, I Don't Care". New York: St Martin's Press, 2001. .
Sound, Owen. TCM Film Guide: Leading Men: The 50 Most Unforgettable Actors of the Studio Era. San Francisco, California: Chronicle Books, 2006. .
Tomkies, Mike. The Robert Mitchum Story: "It Sure Beats Working". New York: Ballantine Books, 1972. .
External links
Profile at Turner Classic Movies
Photographs and literature
1917 births
1997 deaths
20th Century Fox contract players
20th-century American male actors
20th-century American memoirists
20th-century American male singers
20th-century American singers
American country singer-songwriters
American male composers
American male film actors
American male poets
American Methodists
American baritones
American people of Scotch-Irish descent
American people of Norwegian descent
California Republicans
Capitol Records artists
Cecil B. DeMille Award Golden Globe winners
Civilian Conservation Corps people
Combat medics
Connecticut Republicans
Deaths from cancer in California
Deaths from emphysema
Deaths from lung cancer
Haaren High School alumni
Male actors from Bridgeport, Connecticut
Male Western (genre) film actors
Military personnel from Bridgeport, Connecticut
Military personnel from Connecticut
Mitchum family
Monument Records artists
Overturned convictions in the United States
People from Hell's Kitchen, Manhattan
RKO Pictures contract players
United States Army personnel of World War II
United States Army soldiers
Singer-songwriters from New York (state) | false | [
"Adrian Teh Kean Kok (born 1984) is a Malaysian producer and director.\n\nCareer\nAdrian Teh is one of the renowned director/producer in Malaysia. He founded and presided over the Chinese Film Association of Malaysia in 2012, and organized Malaysia’s first ever Chinese movies awards ceremony – the Golden Wau Awards – in 2013. Teh is highly recognized as one of the Top-10 Outstanding Youths of Malaysia in 2016, (JCI TOYM) and was named in the 2016 list of 100 Most Influential Young Entrepreneurs (MIYE 2016).\n\nTeh has directed numerous Malaysian Chinese movies, including “Lelio Popo” , “The Wedding Diary”, “The Wedding Diary 2”, “King of Mahjong” & etc. In 2018, Teh directed Malaysia’s first military action-packed movie that is based on true events - “PASKAL The Movie”. PASKAL recorded RM30million in box office sales. Since then, Teh started to explore further in Malay film industry. In 2019, he directed an action-packed movie – “WIRA”. In order to make it a world class action film, he’s managed to hire renowned Indonesian action star Yayan Ruhian, who had involved in few Hollywood movies to choreograph the action sequences in the film.\n\nIn 2020, he attends to many new challenges. He directed his first Malay rom-com - “Pasal Kau” (All Because Of You) – the first Netflix Malaysian original film which is available in over 190 countries. Besides, he directed his first suspense-thriller series – “Model Family”, the first original production by Celestial Tiger Entertainment / Thrill.\n\nThis year, despite the pandemic's impact on the industry, he continues to seek and achieve new goals. “Ada Hantu”, a horror film produced by Teh will be streaming exclusively via Disney+ Hotstar Malaysia on Aug 13.\n\nFilmography\n\nReferences\n\nExternal links\n 'Paskal' director Adrian Teh goes from action to rom-com with 'Pasal Kau'\n \"Wira\" will kick off Adrian Teh's local heroes cinematic universe\n New film 'Wira' kicks into high gear with its action sequences\n Bakara papar peristiwa sebenar di Mogadishu\n \n\nMalaysian film directors\n1984 births\nLiving people\nPeople from Penang\nMalaysian people of Chinese descent",
"Teh tarik () is a popular hot milk tea beverage most commonly found in restaurants, outdoor stalls, mamaks and kopitiams within the Southeast Asian countries of Malaysia, Indonesia and Singapore. Its name is derived from the pouring process of \"pulling\" the drink during preparation. It is made from a strong brew of black tea blended with condensed milk. It is the national drink of Malaysia.\n\nEtymology\nTeh tarik is formed by two languages: teh which means \"tea\" and tarik which means \"pulled.\" The word \"teh\" for tea originates from Hokkien word 茶 tê for tea, the word \"tarik\" for pulled originates from Malay.\n\nOrigin and history \n\nThe origins of teh tarik can be traced to Indian Muslim immigrants in the Malay Peninsula who set up drink stalls at the entrance of rubber plantations after World War II to serve the workers there. Since colonial times, teh tarik has been a popular Malaysian Indian cuisine for many in British Malaya and Singapore. Traditionally, teh tarik has been seen served with the Roti canai which is a popular breakfast set among Malaysians.\n\nAn element of showmanship exists in the preparation of teh tarik. The ability to drag a long stream of tea above the heads of the patrons without giving them a shower is an amusing novelty for the locals and tourists alike. In Malaysia, there are occasions where teh tarik brewers gather for competitions and performances to show their skills. Teh tarik has become recognised along with nasi lemak as part of the food and beverage heritage of Malaysia by the Malaysian government ministry.\n\nPreparation\nThe mixture is poured back and forth repeatedly between two vessels from a height, giving it a thick frothy top. This process cools the tea to optimal drinking temperatures, thoroughly mixes the tea with the condensed milk, and improves its flavour. This is often compared to the decanting of toddy to enhance its flavour.\n\nThe term kurang manis, which can be translated to \"less sweet\", is a common request for those who are health conscious or not fond of sugary drinks, as teh tarik is typically prepared on the sweet side to taste by most vendors.\n\nVariations\n\n Teh ais is tea sweetened with condensed milk that is simply served in a glass with ice cubes. It may also be known as teh tarik ping or teh tarik ais'' with the tarik treatment.\n Teh tarik madu is teh tarik blended with honey as part of its preparation, which is usually served cold.\n Teh halia, teh tarik flavoured with ginger.\n Teh madras, a variant popular in Sabah and Labuan, is made with frothed milky tea layered on top of hot milk.\n Teh-C is tea made with unsweetened evaporated milk, unlike the traditional teh tarik which is made with sweetened condensed milk. Vendors however will add sugar to Teh-C unless specifically asked not to. The Malay word for nil or zero, kosong, is used to indicate that the drinker does not want their beverage to be sweetened. The ‘C’ stands for \"Carnation\", a popular brand of evaporated milk. A three-layered tea variation of the drink called Teh-C Peng Special are available and sold in most kopitiams, consisting of black tea, milk and palm sugar syrup from the top to bottom layer respectively. Teh-C ais is the iced drink version of it with ice cubes.\n Teh-O refers to black tea without any addition of dairy products or creamers entirely, hence the ‘O’ stands for \"original\". Like Teh-C, sugar is usually added except when Teh-O kosong is specified, where once again sugar is omitted. Teh O ais is the iced drink version of it with ice cubes.\n Kopi tarik is local coffee, dark roasted with margarine and sugar, which is sweetened with condensed milk and pulled to froth it up. Drinks made with Milo and Nescafe may also be served with the tarik treatment by vendors which specialise in teh tarik.\n\nIn popular culture \nThe drink has experienced resurgent popularity as a symbol of navigating conflict. As a common drink among disparate cultural groups, organisations throughout Malaysia such as schools, nonprofits, and government have been hosting \"Teh tarik sessions\" in which participants identify common ground and embrace diversity.\n\nSee also\n Thai Tea\n Hong Kong-style Milk Tea\n Bubble Tea\n Masala Chai\n\nReferences\n\nMalaysian drinks\nSingaporean drinks\nIndonesian drinks\nBlended tea\nSingaporean cuisine\nBruneian cuisine\nTea culture\nMalaysian tea\nMilk tea"
]
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[
"Robert Mitchum",
"Film noir",
"what is the film noir?",
"Mitchum was initially known for his work in film noir.",
"what was his role",
"His first foray into the genre was a supporting role in the 1944 B-movie When Strangers Marry,",
"how did that movie do?",
"I don't know.",
"who acted alongside with him",
"him playing against type as a troubled, sensitive man entangled in the affairs of his brother (Robert Taylor) and his brother's suspicious wife (Katharine Hepburn).",
"did teh movie win any awards",
"The film, directed by Edward Dmytryk, earned five Academy Award nominations."
]
| C_1b646414938c45e983367b2ad6a17667_0 | what kind of Academy Awards? | 6 | What kind of Academy Awards did the movie When Strangers Marry win? | Robert Mitchum | Mitchum was initially known for his work in film noir. His first foray into the genre was a supporting role in the 1944 B-movie When Strangers Marry, about newlyweds and a New York City serial killer. Undercurrent, another of Mitchum's early noir films, featured him playing against type as a troubled, sensitive man entangled in the affairs of his brother (Robert Taylor) and his brother's suspicious wife (Katharine Hepburn). John Brahm's The Locket (1946) featured Mitchum as bitter ex-boyfriend to Laraine Day's femme fatale. Raoul Walsh's Pursued (1947) combined Western and noir styles, with Mitchum's character attempting to recall his past and find those responsible for killing his family. Crossfire (also 1947) featured Mitchum as a member of a group of World War II soldiers, one of whom kills a Jewish man. It featured themes of anti-Semitism and the failings of military training. The film, directed by Edward Dmytryk, earned five Academy Award nominations. Following Crossfire, Mitchum starred in Out of the Past (also called Build My Gallows High), directed by Jacques Tourneur and featuring the cinematography of Nicholas Musuraca. Mitchum played Jeff Markham, a small-town gas-station owner and former investigator, whose unfinished business with gambler Whit Sterling (Kirk Douglas) and femme fatale Kathie Moffett (Jane Greer) comes back to haunt him. On September 1, 1948, after a string of successful films for RKO, Mitchum and actress Lila Leeds were arrested for possession of marijuana. The arrest was the result of a sting operation designed to capture other Hollywood partiers, as well, but Mitchum and Leeds did not receive the tipoff. After serving a week at the county jail (he described the experience to a reporter as being "like Palm Springs, but without the riff-raff"), Mitchum spent 43 days (February 16 to March 30) at a Castaic, California, prison farm. Life photographers were permitted to take photos of him mopping up in his prison uniform. The arrest inspired the exploitation film She Shoulda Said No! (1949), which starred Leeds. The conviction was later overturned by the Los Angeles court and district attorney's office on January 31, 1951, after being exposed as a setup. Whether despite, or because of, Mitchum's troubles with the law and his studio, his films released immediately after his arrest were box-office hits. Rachel and the Stranger (1948) featured Mitchum in a supporting role as a mountain man competing for the hand of Loretta Young, the indentured servant and wife of William Holden. In the film adaptation of John Steinbeck's novella The Red Pony (1949), he appeared as a trusted cowhand to a ranching family. He returned to film noir in The Big Steal (also 1949), where he joined Jane Greer in an early Don Siegel film. CANNOTANSWER | CANNOTANSWER | Robert Charles Durman Mitchum (August 6, 1917 – July 1, 1997) was an American actor, director, author, poet, composer, and singer. He rose to prominence
with an Academy Award nomination for the Best Supporting Actor for The Story of G.I. Joe (1945), followed by starring in several classic film noirs. His acting is generally considered a forerunner of the antiheroes prevalent in film during the 1950s and 1960s. His best-known films include Thirty Seconds Over Tokyo (1944), Out of the Past (1947), River of No Return (1954), The Night of the Hunter (1955), Thunder Road (1958), Cape Fear (1962), El Dorado (1966), Ryan's Daughter (1970) and The Friends of Eddie Coyle (1973). He is also known for his television role as U.S. Navy Captain Victor "Pug" Henry in the epic miniseries The Winds of War (1983) and sequel War and Remembrance (1988).
Mitchum is rated number 23 on the American Film Institute's list of the greatest male stars of classic American cinema.
Early life
Mitchum was born in Bridgeport, Connecticut, on August 6, 1917, into a Scots-Irish/Norwegian Methodist family. His father, James Thomas Mitchum, was a shipyard and railroad worker of Scots-Irish descent, and his mother, Ann Harriet Gunderson, was a Norwegian immigrant and sea captain's daughter. His older sister, Annette (known as Julie Mitchum during her acting career), was born in 1914. James was crushed to death in a railyard accident in Charleston, South Carolina, in February 1919. His widow was awarded a government pension, and soon realized she was pregnant. Her third child, John, was born in September of that year.
Ann married Lieutenant Hugh "The Major" Cunningham Morris, a former Royal Naval Reserve officer. They had a daughter, Carol Morris, born July 1927 on the family farm in Delaware. When all of the children were old enough to attend school, Ann found employment as a linotype operator for the Bridgeport Post.
As a child, Mitchum was known as a prankster, often involved in fistfights and mischief. In 1929 his mother sent the twelve-year-old to live with her parents in Felton, Delaware; the boy was promptly expelled from middle school for scuffling with the principal. A year later he moved in with his older sister in Manhattan's Hell's Kitchen. After being expelled from Haaren High School he left his sister and traveled throughout the country, hopping freight cars and taking a number of jobs, including ditch-digging for the Civilian Conservation Corps and professional boxing. He later stated that at age 14 in Savannah, Georgia, he was arrested for vagrancy and put in a local chain gang. By Mitchum's account, he escaped and returned to his family in Delaware. During this time, while recovering from injuries that nearly cost him a leg, he met Dorothy Spence, whom he would later marry. He soon went back on the road, eventually "riding the rails" to California.
Acting
Getting established
In the mid-1930s Julie Mitchum moved to the West Coast in the hope of acting in movies, and the rest of the Mitchum family soon followed her to Long Beach, California. Robert arrived in 1936. During this time, Mitchum worked as a ghostwriter for astrologer Carroll Righter. Julie convinced him to join the local theater guild with her. At The Players Guild of Long Beach, Mitchum worked as a stagehand and occasional bit-player in company productions. He also wrote several short pieces which were performed by the guild. According to Lee Server's biography (Robert Mitchum: Baby, I Don't Care), Mitchum put his talent for poetry to work writing song lyrics and monologues for Julie's nightclub performances.
In 1940, he returned to Delaware to marry Dorothy Spence, and they moved back to California. He gave up his artistic pursuits at the birth of their first child James, nicknamed Josh, and two more children, Chris and Petrine, followed. Mitchum found steady employment as a machine operator during World War II with the Lockheed Aircraft Corporation, but the noise of the machinery damaged his hearing. He also suffered a nervous breakdown (which resulted in temporary vision problems), due to job-related stress.
He then sought work as a film actor, performing initially as an extra and in small speaking parts. His agent got him an interview with Harry Sherman, the producer of Paramount's Hopalong Cassidy western film series, which starred William Boyd; Mitchum was hired to play minor villainous roles in several films in the series during 1942 and 1943. He went uncredited as a soldier in the 1943 film The Human Comedy starring Mickey Rooney. His first on-screen credit came in 1943 as a Marine private in the Randolph Scott war film Gung Ho! Mitchum continued to find work as an extra and supporting actor in numerous productions for various studios.
After impressing director Mervyn LeRoy during the making of Thirty Seconds Over Tokyo, Mitchum signed a seven-year contract with RKO Radio Pictures. He was groomed for B-Western stardom in a series of Zane Grey adaptations. Following the moderately successful Western Nevada, RKO lent Mitchum to United Artists for a prominent supporting actor role in The Story of G.I. Joe (1945). In the film, he portrayed war-weary officer Bill Walker (based on Captain Henry T. Waskow), who remains resolute despite the troubles he faces. The film, which followed the life of an ordinary soldier through the eyes of journalist Ernie Pyle (played by Burgess Meredith), became an instant critical and commercial success. Shortly after filming, Mitchum was drafted into the United States Army, serving at Fort MacArthur, California, as a medic. At the 1946 Academy Awards, The Story of G.I. Joe was nominated for four Oscars, including Mitchum's only nomination for an Academy Award, for Best Supporting Actor. He finished the year with a Western (West of the Pecos) and a story of returning Marine veterans (Till the End of Time), before migrating to a genre that came to define Mitchum's career and screen persona: film noir.
Film noir
Mitchum was initially known for his work in film noir. His first foray into the genre was a supporting role in the 1944 B-movie When Strangers Marry, about newlyweds and a New York City serial killer. Another early noir, Undercurrent, featured him as a troubled, sensitive man entangled in the affairs of his tycoon brother (Robert Taylor) and his brother's suspicious wife (Katharine Hepburn). John Brahm's The Locket (1946) featured Mitchum as a bitter ex-boyfriend to Laraine Day's femme fatale. Raoul Walsh's Pursued (1947) combined the Western and noir genres, with Mitchum's character attempting to recall his past and find those responsible for killing his family. Crossfire (also 1947) featured Mitchum as a member of a group of returned World War II soldiers embroiled in a murder investigation for an act committed by an anti-Semite in their ranks. The film, directed by Edward Dmytryk and starring Robert Ryan and Robert Young, earned five Academy Award nominations.
Following Crossfire, Mitchum starred in Out of the Past (also called Build My Gallows High), directed by Jacques Tourneur and featuring the cinematography of Nicholas Musuraca. In his best-known noir role, Mitchum played Jeff Markham, a small-town gas-station owner and former investigator, whose unfinished business with gambler Whit Sterling (Kirk Douglas) and femme fatale Kathie Moffett (Jane Greer) comes back to haunt him.
On September 1, 1948, after a string of successful films for RKO, Mitchum and actress Lila Leeds were arrested for possession of marijuana. The bust was the result of a sting operation designed to capture other Hollywood partiers as well, but Mitchum and Leeds did not receive the tipoff. After serving a week at the county jail (he described the experience to a reporter as being "like Palm Springs, but without the riff-raff"), Mitchum spent 43 days (February 16 to March 30) at a Castaic, California, prison farm. Life photographers were permitted to take photos of him mopping up in his prison uniform. The arrest inspired the exploitation film She Shoulda Said No! (1949), which starred Leeds. Mitchum's conviction was later overturned by the Los Angeles court and district attorney's office on January 31, 1951, after being exposed as a setup.
Despite Mitchum's legal troubles and problems without his studio, his popularity was not harmed and films released immediately after his arrest were box-office hits. Rachel and the Stranger (1948) featured Mitchum in a supporting role as a mountain man competing for the hand of Loretta Young, the indentured servant and wife of William Holden. In the film adaptation of John Steinbeck's novella The Red Pony (1949), he appeared as a trusted cowhand to a ranching family. He returned to in The Big Steal (also 1949), where he reunited with Jane Greer in an early Don Siegel film.
Mainstream stardom in the 1950s and 1960s
In Where Danger Lives (1950), Mitchum played a doctor who comes between a mentally unbalanced Faith Domergue and cuckolded Claude Rains. The Racket was a noir remake of the early crime drama The Racket (1928), and featured Mitchum as a police captain fighting corruption in his precinct. The Josef von Sternberg film, Macao (1952), had Mitchum as a victim of mistaken identity at an exotic resort casino, playing opposite Jane Russell. Otto Preminger's Angel Face was the first of three collaborations between Mitchum and British stage actress Jean Simmons. Mitchum plays an ambulance driver who allows a murderously insane heiress to fatally seduce him.
Mitchum was fired from Blood Alley (1955) over his conduct, reportedly having thrown the film's transportation manager into San Francisco Bay. According to Sam O'Steen's memoir Cut to the Chase, Mitchum showed up on-set after a night of drinking and tore apart a studio office when they did not have a car ready for him. Mitchum walked off the set of the third day of filming Blood Alley, claiming he could not work with the director. Because Mitchum was showing up late and behaving erratically, producer John Wayne, after failing to obtain Humphrey Bogart as a replacement, took over the role himself.
Following a series of conventional Westerns and , as well as the Marilyn Monroe adventure vehicle River of No Return (1954), Mitchum appeared in The Night of the Hunter (1955), Charles Laughton's only film as director. Based on a novel by Davis Grubb, the thriller starred Mitchum as a monstrous criminal posing as a preacher to find money hidden by his cellmate in the man's home. His performance as Reverend Harry Powell is considered by many to be one of the best of his career. Stanley Kramer's melodrama Not as a Stranger, also released in 1955, was a box-office hit. The film starred Mitchum against type, as an idealistic young doctor, who marries an older nurse (Olivia de Havilland), only to question his morality many years later. However, the film was not well received, with most critics pointing out that Mitchum, Frank Sinatra, and Lee Marvin were all too old for their characters. Olivia de Havilland received top billing over Mitchum and Sinatra.
On March 8, 1955, Mitchum formed DRM (Dorothy and Robert Mitchum) Productions to produce five films for United Artists; four films were produced. The first film was Bandido (1956). Following a succession of average Westerns and the poorly received Foreign Intrigue (1956), Mitchum starred in the first of three films with Deborah Kerr. The John Huston war drama Heaven Knows, Mr. Allison, cast Mitchum as a Marine corporal shipwrecked on a Pacific Island with a nun, Sister Angela (Deborah Kerr), as his sole companion. In this character study they struggle with the elements, the Japanese garrison, and their growing feelings for one-another. The film was nominated for two Academy Awards, including Best Actress and Best Adapted Screenplay. For his role, Mitchum was nominated for a BAFTA Award for Best Foreign Actor. In the World War II submarine classic The Enemy Below (1956), Mitchum played the captain of a US Navy destroyer who matches wits with a wily German U-boat captain Curt Jurgens, who starred with Mitchum again in the 1962 World War II epic The Longest Day.
Thunder Road (1958), the second DRM Production, was loosely based on an incident in which a driver transporting moonshine was said to have fatally crashed on Kingston Pike in Knoxville, Tennessee, somewhere between Bearden Hill and Morrell Road. According to Metro Pulse writer Jack Renfro, the incident occurred in 1952 and may have been witnessed by James Agee, who passed the story on to Mitchum. He starred, produced, co-wrote the screenplay, and is rumored to have directed much of the film. It costars his son James, as his on-screen brother, in a role originally intended for Elvis Presley. Mitchum also co-wrote (with Don Raye) the theme song, "The Ballad of Thunder Road".
Mitchum returned to Mexico for The Wonderful Country (1959) with Julie London, and Ireland for A Terrible Beauty/The Night Fighters for the last of his DRM Productions.
Mitchum and Kerr reunited for the Fred Zinnemann film The Sundowners (1960), playing an Australia husband and wife struggling in the sheep industry during the Depression. The film received five Oscar nominations, and Mitchum earned the year's National Board of Review award for Best Actor for his performance. The award also recognized his performance in the Vincente Minnelli Western drama Home from the Hill (also 1960). He was teamed with former leading ladies Kerr and Simmons, as well as Cary Grant, for the Stanley Donen comedy The Grass Is Greener the same year.
Mitchum's performance as the menacing rapist Max Cady in Cape Fear (1962) brought him further renown for playing cold, predatory characters. The 1960s were marked by a number of lesser films, including the Shirley MacLaine comedy-musical What a Way to Go! (1964), the Howard Hawks Western El Dorado (1967), a remake of Rio Bravo (1959) (in which Mitchum took over Dean Martin's role of the drunk who comes to the aid of John Wayne's character), and another WWII epic, Anzio (1968). He teamed with Martin again for the 1968 Western 5 Card Stud, playing a homicidal preacher.
Later work
Mitchum made a departure from his typical screen persona with the 1970 David Lean film Ryan's Daughter, in which he starred as Charles Shaughnessy, a mild-mannered schoolmaster in World War I–era Ireland. At the time of filming Mitchum's recent films had been critical and commercial flops, and he was going through a personal crisis that had him considering suicide. Screenwriter Robert Bolt told him that he could do so after the film was finished and that he would personally pay for his burial. Though the film was nominated for four Academy Awards (winning two) and Mitchum was much publicized as a contender for a Best Actor nomination, he was not nominated. George C. Scott won the award for his powerful performance in Patton, a project Mitchum had rejected as glorifying war.
The 1970s featured Mitchum in a number of well-received crime dramas. The Friends of Eddie Coyle (1973) had the actor playing an aging Boston hoodlum caught between the Feds and his criminal friends. Sydney Pollack's The Yakuza (1974) transplanted the typical story arc to the Japanese underworld. He also appeared in 1976's Midway about a crucial 1942 World War II battle. Mitchum's stint as an aging Philip Marlowe in the Raymond Chandler adaptation Farewell, My Lovely (1975) (a re-make of 1944's Murder My Sweet) was sufficiently well received by audiences and critics for him to reprise the role in 1978's The Big Sleep, a remake of the 1946 film of the same title.
In 1982, Mitchum played Coach Delaney in the film adaptation of playwright/actor Jason Miller's 1973 Pulitzer Prize-winning play That Championship Season.
At the premiere for That Championship Season, Mitchum, while intoxicated, assaulted a female reporter and threw a basketball that he was holding (a prop from the film) at a female photographer from Time magazine, injuring her neck and knocking out two of her teeth. She sued him for $30 million for damages. The suit eventually "cost him his salary from the film".
That Championship Season may have indirectly led to another debacle for Mitchum several months later. In a February 1983 Esquire interview, he made several racist, anti-Semitic and sexist statements, including, when asked if the Holocaust occurred, responded "so the Jews say." Following the widespread negative response, he apologized a month later, saying that his statements were "prankish" and "foreign to my principle". He claimed that the problem had begun when he recited a racist monologue from his role in That Championship Season, the writer believing the words to be his own. Mitchum, who claimed that he had only reluctantly agreed to the interview, then decided to "string... along" the writer with even more incendiary statements.
Mitchum expanded to television work with the 1983 miniseries The Winds of War. The big-budget Herman Wouk story aired on ABC, starring Mitchum as naval officer "Pug" Henry and Victoria Tennant as Pamela Tudsbury, and examined the events leading up to America's involvement in World War II. He returned to the role in 1988's War and Remembrance, which continued the story through the end of the war.
In 1984, Mitchum entered the Betty Ford Center in Palm Springs, California for treatment of alcoholism.
He played George Hazard's father-in-law in the 1985 miniseries North and South, which also aired on ABC.
Mitchum starred opposite Wilford Brimley in the 1986 made-for-TV movie Thompson's Run. A hardened con (Mitchum), being transferred from a federal penitentiary to a Texas institution to finish a life sentence as a habitual criminal, is freed at gunpoint by his niece (played by Kathleen York). The cop (Brimley) who was transferring him, and has been the con's lifelong friend and adversary for over 30 years, vows to catch the twosome.
In 1987, Mitchum was the guest-host on Saturday Night Live, where he played private eye Philip Marlowe for the last time in the parody sketch, "Death Be Not Deadly". The show ran a short comedy film he made (written and directed by his daughter, Trina) called Out of Gas, a mock sequel to Out of the Past. (Jane Greer reprised her role from the original film.) He also was in Bill Murray's 1988 comedy film, Scrooged.
In 1991, Mitchum was given a lifetime achievement award from the National Board of Review of Motion Pictures, in the same year he received the Telegatto award and in 1992 the Cecil B. DeMille Award from the Golden Globe Awards.
Mitchum continued to act in films until the mid-1990s, such as in Jim Jarmusch's Dead Man, and he narrated the Western Tombstone. He also appeared, in contrast to his role as the antagonist in the original, as a protagonist police detective in Martin Scorsese's remake of Cape Fear, but the actor gradually slowed his workload. His last film appearance was a small but pivotal role in the television biographical film, James Dean: Race with Destiny, playing Giant director George Stevens. His last starring role was in the 1995 Norwegian movie Pakten.
Music
One of the lesser-known aspects of Mitchum's career was his foray into music as a singer. Critic Greg Adams writes, "Unlike most celebrity vocalists, Robert Mitchum actually had musical talent." Mitchum's voice was often used instead of that of a professional singer when his character sang in his films. Notable productions featuring Mitchum's own singing voice included Rachel and the Stranger, River of No Return, and The Night of the Hunter. After hearing traditional calypso music and meeting artists such as Mighty Sparrow and Lord Invader while filming Heaven Knows, Mr. Allison in the Caribbean islands of Tobago, he recorded Calypso – is like so ... in March 1957. On the album, released through Capitol Records, he emulated the calypso sound and style, even adopting the style's unique pronunciations and slang. A year later, he recorded a song he had written for Thunder Road, titled "The Ballad of Thunder Road". The country-style song became a modest hit for Mitchum, reaching number 69 on the Billboard Pop Singles chart. The song was included as a bonus track on a successful reissue of Calypso ... and helped market the film to a wider audience.
Although Mitchum continued to use his singing voice in his film work, he waited until 1967 to record his follow-up record, That Man, Robert Mitchum, Sings. The album, released by Nashville-based Monument Records, took him further into country music, and featured songs similar to "The Ballad of Thunder Road". "Little Old Wine Drinker Me", the first single, was a top-10 hit at country radio, reaching number nine there, and crossed over onto mainstream radio, where it peaked at number 96. Its follow-up, "You Deserve Each Other", also charted on the Billboard Country Singles chart. He sang the title song to the Western Young Billy Young, made in 1969.
Albums
Singles
Personal life
Mitchum's sons, James and Christopher, were actors, and his daughter, Petrine Day Mitchum, a writer. His grandchildren, Bentley Mitchum and Carrie Mitchum, are actors, as was his younger brother, John, who died in 2001. Another grandson, Kian, is a successful model.
A lifelong heavy smoker, Mitchum died on July 1, 1997, in Santa Barbara, California, due to complications of lung cancer and emphysema. He was five weeks shy of his 80th birthday. His body was cremated and his ashes scattered at sea, though there is a plot marker in the Odd Fellows Cemetery in Delaware. He was survived by his wife of 57 years, Dorothy Mitchum (May 2, 1919 – April 12, 2014, Santa Barbara, California, aged 94).
Reception, acting style and legacy
Mitchum is regarded by some critics as one of the finest actors of the Golden Age of Hollywood. Roger Ebert called him "the soul of film noir". Mitchum, however, was self-effacing; in an interview with Barry Norman for the BBC about his contribution to cinema, Mitchum stopped Norman in mid-flow and in his typical nonchalant style, said, "Look, I have two kinds of acting. One on a horse and one off a horse. That's it." He had also succeeded in annoying some of his fellow actors by voicing his puzzlement at those who viewed the profession as challenging and hard work. He is quoted as having said in the Norman interview that acting was actually very simple and that his job was to "show up on time, know his lines, hit his marks, and go home". Mitchum had a habit of marking most of his appearances in the script with the letters "n.a.r.", which meant "no action required", and also possessed a photographic memory that allowed him to remember lines with relative ease.
Mitchum's subtle and understated acting style often garnered him criticism of sleepwalking through his performances. The directors who worked with him however had nothing but praise for him. Charles Laughton, who directed him in The Night of the Hunter, considered Mitchum to be one of the best actors in the world and believed that he would have been the greatest Macbeth. John Huston felt that Mitchum was on the same pedestal of actors like Marlon Brando, Richard Burton and Laurence Olivier. Howard Hawks praised Mitchum for being a hard worker, labeling the actor a "fraud" for pretending to not care about acting. Robert De Niro, Clint Eastwood, Michael Madsen and Mark Rylance have cited Mitchum as one of their favorite actors.
AFI's 100 Years...100 Stars lists Mitchum as the 23rd-greatest male star of classic Hollywood cinema. AFI also recognized his performances as the menacing rapist Max Cady and Reverend Harry Powell as the 28th and 29th greatest screen villains of all time as part of AFI's 100 Years...100 Heroes and Villains. He provided the voice of the famous American Beef Council commercials that touted "Beef ... it's what's for dinner", from 1992 until his death.
A "Mitchum's Steakhouse" operated in Trappe, Maryland, where Mitchum and his family lived from 1959 to 1965.
Documentaries
2017 : James Stewart/Robert Mitchum: The Two Faces of America directed by Gregory Monro
Filmography
References
Citations
General sources
Mitchum, John. Them Ornery Mitchum Boys: The Adventures of Robert and John Mitchum. Pacifica, California: Creatures at Large, 1989. .
Olson, James and Randy Roberts. John Wayne: American. Lincoln, Nebraska: Bison Books, 1997. .
O'Steen, Sam. Cut to the Chase: Forty-Five Years of Editing America's Favorite Movies. Los Angeles: Michael Wiese Productions, 2002. .
Roberts, Jerry. Mitchum: In His Own Words. New York: Limelight Editions, 2000. .
Server, Lee. Robert Mitchum: "Baby, I Don't Care". New York: St Martin's Press, 2001. .
Sound, Owen. TCM Film Guide: Leading Men: The 50 Most Unforgettable Actors of the Studio Era. San Francisco, California: Chronicle Books, 2006. .
Tomkies, Mike. The Robert Mitchum Story: "It Sure Beats Working". New York: Ballantine Books, 1972. .
External links
Profile at Turner Classic Movies
Photographs and literature
1917 births
1997 deaths
20th Century Fox contract players
20th-century American male actors
20th-century American memoirists
20th-century American male singers
20th-century American singers
American country singer-songwriters
American male composers
American male film actors
American male poets
American Methodists
American baritones
American people of Scotch-Irish descent
American people of Norwegian descent
California Republicans
Capitol Records artists
Cecil B. DeMille Award Golden Globe winners
Civilian Conservation Corps people
Combat medics
Connecticut Republicans
Deaths from cancer in California
Deaths from emphysema
Deaths from lung cancer
Haaren High School alumni
Male actors from Bridgeport, Connecticut
Male Western (genre) film actors
Military personnel from Bridgeport, Connecticut
Military personnel from Connecticut
Mitchum family
Monument Records artists
Overturned convictions in the United States
People from Hell's Kitchen, Manhattan
RKO Pictures contract players
United States Army personnel of World War II
United States Army soldiers
Singer-songwriters from New York (state) | false | [
"Cinematographer Vilmos Zsigmond, also formerly credited as William Zsigmond, was nominated for four Academy Awards for Best Cinematography (Close Encounters of the Third Kind, The Deer Hunter, The River, and The Black Dahlia), winning once for his work on Close Encounters of the Third Kind. He also won two American Society of Cinematographers Awards, one Primetime Emmy Award, and one British Academy Film Award.\n\nThis article includes all of Zsigmond's credits as a cinematographer both in film and television.\n\nFilms\n\nShort films\n\nDocumentary\n\nTelevision\n\nReferences\n\nZsigmond, Vilmos",
"Richard Yuricich (born December 1942) is a special visual effects artist. He is the brother of Matthew Yuricich, also a special effects artist. Yuricich is of Croatian descent. He has been nominated for an Academy Award three times.\n\nOscar Nominations\n\nAll 3 are in the category of Best Visual Effects\n\n50th Academy Awards-Nominated for Close Encounters of the Third Kind, nomination shared with Roy Arbogast, Gregory Jein, Douglas Trumbull and Matthew Yuricich. Lost to Star Wars.\n52nd Academy Awards-Nominated for Star Trek: The Motion Picture, nomination shared with John Dykstra, Grant McCune, David K. Stewart, Robert Swarthe and Douglas Trumbull. Lost to Alien.\n55th Academy Awards-Nominated for Blade Runner, nomination shared with David Dryer and Douglas Trumbull. Lost to E.T. the Extra-Terrestrial. .\n\nSelected filmography\n\nNon-Stop (2014)\nThe Book of Eli (2010)\nMission: Impossible 2 (2000)\nEvent Horizon (1997)\nBill & Ted's Bogus Journey (1991)\nBlade Runner (1982)\nStar Trek: The Motion Picture (1979)\nClose Encounters of the Third Kind (1977)\n2001: A Space Odyssey (1968)\n\nReferences\n\nExternal links\n\nSpecial effects people\nLiving people\nPeople from Lorain, Ohio\n1942 births"
]
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"how did that movie do?",
"I don't know.",
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| C_1b646414938c45e983367b2ad6a17667_0 | did robert recieve any nominations for this film? | 7 | Did Robert Mitchum receive any nominations for When Strangers Marry? | Robert Mitchum | Mitchum was initially known for his work in film noir. His first foray into the genre was a supporting role in the 1944 B-movie When Strangers Marry, about newlyweds and a New York City serial killer. Undercurrent, another of Mitchum's early noir films, featured him playing against type as a troubled, sensitive man entangled in the affairs of his brother (Robert Taylor) and his brother's suspicious wife (Katharine Hepburn). John Brahm's The Locket (1946) featured Mitchum as bitter ex-boyfriend to Laraine Day's femme fatale. Raoul Walsh's Pursued (1947) combined Western and noir styles, with Mitchum's character attempting to recall his past and find those responsible for killing his family. Crossfire (also 1947) featured Mitchum as a member of a group of World War II soldiers, one of whom kills a Jewish man. It featured themes of anti-Semitism and the failings of military training. The film, directed by Edward Dmytryk, earned five Academy Award nominations. Following Crossfire, Mitchum starred in Out of the Past (also called Build My Gallows High), directed by Jacques Tourneur and featuring the cinematography of Nicholas Musuraca. Mitchum played Jeff Markham, a small-town gas-station owner and former investigator, whose unfinished business with gambler Whit Sterling (Kirk Douglas) and femme fatale Kathie Moffett (Jane Greer) comes back to haunt him. On September 1, 1948, after a string of successful films for RKO, Mitchum and actress Lila Leeds were arrested for possession of marijuana. The arrest was the result of a sting operation designed to capture other Hollywood partiers, as well, but Mitchum and Leeds did not receive the tipoff. After serving a week at the county jail (he described the experience to a reporter as being "like Palm Springs, but without the riff-raff"), Mitchum spent 43 days (February 16 to March 30) at a Castaic, California, prison farm. Life photographers were permitted to take photos of him mopping up in his prison uniform. The arrest inspired the exploitation film She Shoulda Said No! (1949), which starred Leeds. The conviction was later overturned by the Los Angeles court and district attorney's office on January 31, 1951, after being exposed as a setup. Whether despite, or because of, Mitchum's troubles with the law and his studio, his films released immediately after his arrest were box-office hits. Rachel and the Stranger (1948) featured Mitchum in a supporting role as a mountain man competing for the hand of Loretta Young, the indentured servant and wife of William Holden. In the film adaptation of John Steinbeck's novella The Red Pony (1949), he appeared as a trusted cowhand to a ranching family. He returned to film noir in The Big Steal (also 1949), where he joined Jane Greer in an early Don Siegel film. CANNOTANSWER | CANNOTANSWER | Robert Charles Durman Mitchum (August 6, 1917 – July 1, 1997) was an American actor, director, author, poet, composer, and singer. He rose to prominence
with an Academy Award nomination for the Best Supporting Actor for The Story of G.I. Joe (1945), followed by starring in several classic film noirs. His acting is generally considered a forerunner of the antiheroes prevalent in film during the 1950s and 1960s. His best-known films include Thirty Seconds Over Tokyo (1944), Out of the Past (1947), River of No Return (1954), The Night of the Hunter (1955), Thunder Road (1958), Cape Fear (1962), El Dorado (1966), Ryan's Daughter (1970) and The Friends of Eddie Coyle (1973). He is also known for his television role as U.S. Navy Captain Victor "Pug" Henry in the epic miniseries The Winds of War (1983) and sequel War and Remembrance (1988).
Mitchum is rated number 23 on the American Film Institute's list of the greatest male stars of classic American cinema.
Early life
Mitchum was born in Bridgeport, Connecticut, on August 6, 1917, into a Scots-Irish/Norwegian Methodist family. His father, James Thomas Mitchum, was a shipyard and railroad worker of Scots-Irish descent, and his mother, Ann Harriet Gunderson, was a Norwegian immigrant and sea captain's daughter. His older sister, Annette (known as Julie Mitchum during her acting career), was born in 1914. James was crushed to death in a railyard accident in Charleston, South Carolina, in February 1919. His widow was awarded a government pension, and soon realized she was pregnant. Her third child, John, was born in September of that year.
Ann married Lieutenant Hugh "The Major" Cunningham Morris, a former Royal Naval Reserve officer. They had a daughter, Carol Morris, born July 1927 on the family farm in Delaware. When all of the children were old enough to attend school, Ann found employment as a linotype operator for the Bridgeport Post.
As a child, Mitchum was known as a prankster, often involved in fistfights and mischief. In 1929 his mother sent the twelve-year-old to live with her parents in Felton, Delaware; the boy was promptly expelled from middle school for scuffling with the principal. A year later he moved in with his older sister in Manhattan's Hell's Kitchen. After being expelled from Haaren High School he left his sister and traveled throughout the country, hopping freight cars and taking a number of jobs, including ditch-digging for the Civilian Conservation Corps and professional boxing. He later stated that at age 14 in Savannah, Georgia, he was arrested for vagrancy and put in a local chain gang. By Mitchum's account, he escaped and returned to his family in Delaware. During this time, while recovering from injuries that nearly cost him a leg, he met Dorothy Spence, whom he would later marry. He soon went back on the road, eventually "riding the rails" to California.
Acting
Getting established
In the mid-1930s Julie Mitchum moved to the West Coast in the hope of acting in movies, and the rest of the Mitchum family soon followed her to Long Beach, California. Robert arrived in 1936. During this time, Mitchum worked as a ghostwriter for astrologer Carroll Righter. Julie convinced him to join the local theater guild with her. At The Players Guild of Long Beach, Mitchum worked as a stagehand and occasional bit-player in company productions. He also wrote several short pieces which were performed by the guild. According to Lee Server's biography (Robert Mitchum: Baby, I Don't Care), Mitchum put his talent for poetry to work writing song lyrics and monologues for Julie's nightclub performances.
In 1940, he returned to Delaware to marry Dorothy Spence, and they moved back to California. He gave up his artistic pursuits at the birth of their first child James, nicknamed Josh, and two more children, Chris and Petrine, followed. Mitchum found steady employment as a machine operator during World War II with the Lockheed Aircraft Corporation, but the noise of the machinery damaged his hearing. He also suffered a nervous breakdown (which resulted in temporary vision problems), due to job-related stress.
He then sought work as a film actor, performing initially as an extra and in small speaking parts. His agent got him an interview with Harry Sherman, the producer of Paramount's Hopalong Cassidy western film series, which starred William Boyd; Mitchum was hired to play minor villainous roles in several films in the series during 1942 and 1943. He went uncredited as a soldier in the 1943 film The Human Comedy starring Mickey Rooney. His first on-screen credit came in 1943 as a Marine private in the Randolph Scott war film Gung Ho! Mitchum continued to find work as an extra and supporting actor in numerous productions for various studios.
After impressing director Mervyn LeRoy during the making of Thirty Seconds Over Tokyo, Mitchum signed a seven-year contract with RKO Radio Pictures. He was groomed for B-Western stardom in a series of Zane Grey adaptations. Following the moderately successful Western Nevada, RKO lent Mitchum to United Artists for a prominent supporting actor role in The Story of G.I. Joe (1945). In the film, he portrayed war-weary officer Bill Walker (based on Captain Henry T. Waskow), who remains resolute despite the troubles he faces. The film, which followed the life of an ordinary soldier through the eyes of journalist Ernie Pyle (played by Burgess Meredith), became an instant critical and commercial success. Shortly after filming, Mitchum was drafted into the United States Army, serving at Fort MacArthur, California, as a medic. At the 1946 Academy Awards, The Story of G.I. Joe was nominated for four Oscars, including Mitchum's only nomination for an Academy Award, for Best Supporting Actor. He finished the year with a Western (West of the Pecos) and a story of returning Marine veterans (Till the End of Time), before migrating to a genre that came to define Mitchum's career and screen persona: film noir.
Film noir
Mitchum was initially known for his work in film noir. His first foray into the genre was a supporting role in the 1944 B-movie When Strangers Marry, about newlyweds and a New York City serial killer. Another early noir, Undercurrent, featured him as a troubled, sensitive man entangled in the affairs of his tycoon brother (Robert Taylor) and his brother's suspicious wife (Katharine Hepburn). John Brahm's The Locket (1946) featured Mitchum as a bitter ex-boyfriend to Laraine Day's femme fatale. Raoul Walsh's Pursued (1947) combined the Western and noir genres, with Mitchum's character attempting to recall his past and find those responsible for killing his family. Crossfire (also 1947) featured Mitchum as a member of a group of returned World War II soldiers embroiled in a murder investigation for an act committed by an anti-Semite in their ranks. The film, directed by Edward Dmytryk and starring Robert Ryan and Robert Young, earned five Academy Award nominations.
Following Crossfire, Mitchum starred in Out of the Past (also called Build My Gallows High), directed by Jacques Tourneur and featuring the cinematography of Nicholas Musuraca. In his best-known noir role, Mitchum played Jeff Markham, a small-town gas-station owner and former investigator, whose unfinished business with gambler Whit Sterling (Kirk Douglas) and femme fatale Kathie Moffett (Jane Greer) comes back to haunt him.
On September 1, 1948, after a string of successful films for RKO, Mitchum and actress Lila Leeds were arrested for possession of marijuana. The bust was the result of a sting operation designed to capture other Hollywood partiers as well, but Mitchum and Leeds did not receive the tipoff. After serving a week at the county jail (he described the experience to a reporter as being "like Palm Springs, but without the riff-raff"), Mitchum spent 43 days (February 16 to March 30) at a Castaic, California, prison farm. Life photographers were permitted to take photos of him mopping up in his prison uniform. The arrest inspired the exploitation film She Shoulda Said No! (1949), which starred Leeds. Mitchum's conviction was later overturned by the Los Angeles court and district attorney's office on January 31, 1951, after being exposed as a setup.
Despite Mitchum's legal troubles and problems without his studio, his popularity was not harmed and films released immediately after his arrest were box-office hits. Rachel and the Stranger (1948) featured Mitchum in a supporting role as a mountain man competing for the hand of Loretta Young, the indentured servant and wife of William Holden. In the film adaptation of John Steinbeck's novella The Red Pony (1949), he appeared as a trusted cowhand to a ranching family. He returned to in The Big Steal (also 1949), where he reunited with Jane Greer in an early Don Siegel film.
Mainstream stardom in the 1950s and 1960s
In Where Danger Lives (1950), Mitchum played a doctor who comes between a mentally unbalanced Faith Domergue and cuckolded Claude Rains. The Racket was a noir remake of the early crime drama The Racket (1928), and featured Mitchum as a police captain fighting corruption in his precinct. The Josef von Sternberg film, Macao (1952), had Mitchum as a victim of mistaken identity at an exotic resort casino, playing opposite Jane Russell. Otto Preminger's Angel Face was the first of three collaborations between Mitchum and British stage actress Jean Simmons. Mitchum plays an ambulance driver who allows a murderously insane heiress to fatally seduce him.
Mitchum was fired from Blood Alley (1955) over his conduct, reportedly having thrown the film's transportation manager into San Francisco Bay. According to Sam O'Steen's memoir Cut to the Chase, Mitchum showed up on-set after a night of drinking and tore apart a studio office when they did not have a car ready for him. Mitchum walked off the set of the third day of filming Blood Alley, claiming he could not work with the director. Because Mitchum was showing up late and behaving erratically, producer John Wayne, after failing to obtain Humphrey Bogart as a replacement, took over the role himself.
Following a series of conventional Westerns and , as well as the Marilyn Monroe adventure vehicle River of No Return (1954), Mitchum appeared in The Night of the Hunter (1955), Charles Laughton's only film as director. Based on a novel by Davis Grubb, the thriller starred Mitchum as a monstrous criminal posing as a preacher to find money hidden by his cellmate in the man's home. His performance as Reverend Harry Powell is considered by many to be one of the best of his career. Stanley Kramer's melodrama Not as a Stranger, also released in 1955, was a box-office hit. The film starred Mitchum against type, as an idealistic young doctor, who marries an older nurse (Olivia de Havilland), only to question his morality many years later. However, the film was not well received, with most critics pointing out that Mitchum, Frank Sinatra, and Lee Marvin were all too old for their characters. Olivia de Havilland received top billing over Mitchum and Sinatra.
On March 8, 1955, Mitchum formed DRM (Dorothy and Robert Mitchum) Productions to produce five films for United Artists; four films were produced. The first film was Bandido (1956). Following a succession of average Westerns and the poorly received Foreign Intrigue (1956), Mitchum starred in the first of three films with Deborah Kerr. The John Huston war drama Heaven Knows, Mr. Allison, cast Mitchum as a Marine corporal shipwrecked on a Pacific Island with a nun, Sister Angela (Deborah Kerr), as his sole companion. In this character study they struggle with the elements, the Japanese garrison, and their growing feelings for one-another. The film was nominated for two Academy Awards, including Best Actress and Best Adapted Screenplay. For his role, Mitchum was nominated for a BAFTA Award for Best Foreign Actor. In the World War II submarine classic The Enemy Below (1956), Mitchum played the captain of a US Navy destroyer who matches wits with a wily German U-boat captain Curt Jurgens, who starred with Mitchum again in the 1962 World War II epic The Longest Day.
Thunder Road (1958), the second DRM Production, was loosely based on an incident in which a driver transporting moonshine was said to have fatally crashed on Kingston Pike in Knoxville, Tennessee, somewhere between Bearden Hill and Morrell Road. According to Metro Pulse writer Jack Renfro, the incident occurred in 1952 and may have been witnessed by James Agee, who passed the story on to Mitchum. He starred, produced, co-wrote the screenplay, and is rumored to have directed much of the film. It costars his son James, as his on-screen brother, in a role originally intended for Elvis Presley. Mitchum also co-wrote (with Don Raye) the theme song, "The Ballad of Thunder Road".
Mitchum returned to Mexico for The Wonderful Country (1959) with Julie London, and Ireland for A Terrible Beauty/The Night Fighters for the last of his DRM Productions.
Mitchum and Kerr reunited for the Fred Zinnemann film The Sundowners (1960), playing an Australia husband and wife struggling in the sheep industry during the Depression. The film received five Oscar nominations, and Mitchum earned the year's National Board of Review award for Best Actor for his performance. The award also recognized his performance in the Vincente Minnelli Western drama Home from the Hill (also 1960). He was teamed with former leading ladies Kerr and Simmons, as well as Cary Grant, for the Stanley Donen comedy The Grass Is Greener the same year.
Mitchum's performance as the menacing rapist Max Cady in Cape Fear (1962) brought him further renown for playing cold, predatory characters. The 1960s were marked by a number of lesser films, including the Shirley MacLaine comedy-musical What a Way to Go! (1964), the Howard Hawks Western El Dorado (1967), a remake of Rio Bravo (1959) (in which Mitchum took over Dean Martin's role of the drunk who comes to the aid of John Wayne's character), and another WWII epic, Anzio (1968). He teamed with Martin again for the 1968 Western 5 Card Stud, playing a homicidal preacher.
Later work
Mitchum made a departure from his typical screen persona with the 1970 David Lean film Ryan's Daughter, in which he starred as Charles Shaughnessy, a mild-mannered schoolmaster in World War I–era Ireland. At the time of filming Mitchum's recent films had been critical and commercial flops, and he was going through a personal crisis that had him considering suicide. Screenwriter Robert Bolt told him that he could do so after the film was finished and that he would personally pay for his burial. Though the film was nominated for four Academy Awards (winning two) and Mitchum was much publicized as a contender for a Best Actor nomination, he was not nominated. George C. Scott won the award for his powerful performance in Patton, a project Mitchum had rejected as glorifying war.
The 1970s featured Mitchum in a number of well-received crime dramas. The Friends of Eddie Coyle (1973) had the actor playing an aging Boston hoodlum caught between the Feds and his criminal friends. Sydney Pollack's The Yakuza (1974) transplanted the typical story arc to the Japanese underworld. He also appeared in 1976's Midway about a crucial 1942 World War II battle. Mitchum's stint as an aging Philip Marlowe in the Raymond Chandler adaptation Farewell, My Lovely (1975) (a re-make of 1944's Murder My Sweet) was sufficiently well received by audiences and critics for him to reprise the role in 1978's The Big Sleep, a remake of the 1946 film of the same title.
In 1982, Mitchum played Coach Delaney in the film adaptation of playwright/actor Jason Miller's 1973 Pulitzer Prize-winning play That Championship Season.
At the premiere for That Championship Season, Mitchum, while intoxicated, assaulted a female reporter and threw a basketball that he was holding (a prop from the film) at a female photographer from Time magazine, injuring her neck and knocking out two of her teeth. She sued him for $30 million for damages. The suit eventually "cost him his salary from the film".
That Championship Season may have indirectly led to another debacle for Mitchum several months later. In a February 1983 Esquire interview, he made several racist, anti-Semitic and sexist statements, including, when asked if the Holocaust occurred, responded "so the Jews say." Following the widespread negative response, he apologized a month later, saying that his statements were "prankish" and "foreign to my principle". He claimed that the problem had begun when he recited a racist monologue from his role in That Championship Season, the writer believing the words to be his own. Mitchum, who claimed that he had only reluctantly agreed to the interview, then decided to "string... along" the writer with even more incendiary statements.
Mitchum expanded to television work with the 1983 miniseries The Winds of War. The big-budget Herman Wouk story aired on ABC, starring Mitchum as naval officer "Pug" Henry and Victoria Tennant as Pamela Tudsbury, and examined the events leading up to America's involvement in World War II. He returned to the role in 1988's War and Remembrance, which continued the story through the end of the war.
In 1984, Mitchum entered the Betty Ford Center in Palm Springs, California for treatment of alcoholism.
He played George Hazard's father-in-law in the 1985 miniseries North and South, which also aired on ABC.
Mitchum starred opposite Wilford Brimley in the 1986 made-for-TV movie Thompson's Run. A hardened con (Mitchum), being transferred from a federal penitentiary to a Texas institution to finish a life sentence as a habitual criminal, is freed at gunpoint by his niece (played by Kathleen York). The cop (Brimley) who was transferring him, and has been the con's lifelong friend and adversary for over 30 years, vows to catch the twosome.
In 1987, Mitchum was the guest-host on Saturday Night Live, where he played private eye Philip Marlowe for the last time in the parody sketch, "Death Be Not Deadly". The show ran a short comedy film he made (written and directed by his daughter, Trina) called Out of Gas, a mock sequel to Out of the Past. (Jane Greer reprised her role from the original film.) He also was in Bill Murray's 1988 comedy film, Scrooged.
In 1991, Mitchum was given a lifetime achievement award from the National Board of Review of Motion Pictures, in the same year he received the Telegatto award and in 1992 the Cecil B. DeMille Award from the Golden Globe Awards.
Mitchum continued to act in films until the mid-1990s, such as in Jim Jarmusch's Dead Man, and he narrated the Western Tombstone. He also appeared, in contrast to his role as the antagonist in the original, as a protagonist police detective in Martin Scorsese's remake of Cape Fear, but the actor gradually slowed his workload. His last film appearance was a small but pivotal role in the television biographical film, James Dean: Race with Destiny, playing Giant director George Stevens. His last starring role was in the 1995 Norwegian movie Pakten.
Music
One of the lesser-known aspects of Mitchum's career was his foray into music as a singer. Critic Greg Adams writes, "Unlike most celebrity vocalists, Robert Mitchum actually had musical talent." Mitchum's voice was often used instead of that of a professional singer when his character sang in his films. Notable productions featuring Mitchum's own singing voice included Rachel and the Stranger, River of No Return, and The Night of the Hunter. After hearing traditional calypso music and meeting artists such as Mighty Sparrow and Lord Invader while filming Heaven Knows, Mr. Allison in the Caribbean islands of Tobago, he recorded Calypso – is like so ... in March 1957. On the album, released through Capitol Records, he emulated the calypso sound and style, even adopting the style's unique pronunciations and slang. A year later, he recorded a song he had written for Thunder Road, titled "The Ballad of Thunder Road". The country-style song became a modest hit for Mitchum, reaching number 69 on the Billboard Pop Singles chart. The song was included as a bonus track on a successful reissue of Calypso ... and helped market the film to a wider audience.
Although Mitchum continued to use his singing voice in his film work, he waited until 1967 to record his follow-up record, That Man, Robert Mitchum, Sings. The album, released by Nashville-based Monument Records, took him further into country music, and featured songs similar to "The Ballad of Thunder Road". "Little Old Wine Drinker Me", the first single, was a top-10 hit at country radio, reaching number nine there, and crossed over onto mainstream radio, where it peaked at number 96. Its follow-up, "You Deserve Each Other", also charted on the Billboard Country Singles chart. He sang the title song to the Western Young Billy Young, made in 1969.
Albums
Singles
Personal life
Mitchum's sons, James and Christopher, were actors, and his daughter, Petrine Day Mitchum, a writer. His grandchildren, Bentley Mitchum and Carrie Mitchum, are actors, as was his younger brother, John, who died in 2001. Another grandson, Kian, is a successful model.
A lifelong heavy smoker, Mitchum died on July 1, 1997, in Santa Barbara, California, due to complications of lung cancer and emphysema. He was five weeks shy of his 80th birthday. His body was cremated and his ashes scattered at sea, though there is a plot marker in the Odd Fellows Cemetery in Delaware. He was survived by his wife of 57 years, Dorothy Mitchum (May 2, 1919 – April 12, 2014, Santa Barbara, California, aged 94).
Reception, acting style and legacy
Mitchum is regarded by some critics as one of the finest actors of the Golden Age of Hollywood. Roger Ebert called him "the soul of film noir". Mitchum, however, was self-effacing; in an interview with Barry Norman for the BBC about his contribution to cinema, Mitchum stopped Norman in mid-flow and in his typical nonchalant style, said, "Look, I have two kinds of acting. One on a horse and one off a horse. That's it." He had also succeeded in annoying some of his fellow actors by voicing his puzzlement at those who viewed the profession as challenging and hard work. He is quoted as having said in the Norman interview that acting was actually very simple and that his job was to "show up on time, know his lines, hit his marks, and go home". Mitchum had a habit of marking most of his appearances in the script with the letters "n.a.r.", which meant "no action required", and also possessed a photographic memory that allowed him to remember lines with relative ease.
Mitchum's subtle and understated acting style often garnered him criticism of sleepwalking through his performances. The directors who worked with him however had nothing but praise for him. Charles Laughton, who directed him in The Night of the Hunter, considered Mitchum to be one of the best actors in the world and believed that he would have been the greatest Macbeth. John Huston felt that Mitchum was on the same pedestal of actors like Marlon Brando, Richard Burton and Laurence Olivier. Howard Hawks praised Mitchum for being a hard worker, labeling the actor a "fraud" for pretending to not care about acting. Robert De Niro, Clint Eastwood, Michael Madsen and Mark Rylance have cited Mitchum as one of their favorite actors.
AFI's 100 Years...100 Stars lists Mitchum as the 23rd-greatest male star of classic Hollywood cinema. AFI also recognized his performances as the menacing rapist Max Cady and Reverend Harry Powell as the 28th and 29th greatest screen villains of all time as part of AFI's 100 Years...100 Heroes and Villains. He provided the voice of the famous American Beef Council commercials that touted "Beef ... it's what's for dinner", from 1992 until his death.
A "Mitchum's Steakhouse" operated in Trappe, Maryland, where Mitchum and his family lived from 1959 to 1965.
Documentaries
2017 : James Stewart/Robert Mitchum: The Two Faces of America directed by Gregory Monro
Filmography
References
Citations
General sources
Mitchum, John. Them Ornery Mitchum Boys: The Adventures of Robert and John Mitchum. Pacifica, California: Creatures at Large, 1989. .
Olson, James and Randy Roberts. John Wayne: American. Lincoln, Nebraska: Bison Books, 1997. .
O'Steen, Sam. Cut to the Chase: Forty-Five Years of Editing America's Favorite Movies. Los Angeles: Michael Wiese Productions, 2002. .
Roberts, Jerry. Mitchum: In His Own Words. New York: Limelight Editions, 2000. .
Server, Lee. Robert Mitchum: "Baby, I Don't Care". New York: St Martin's Press, 2001. .
Sound, Owen. TCM Film Guide: Leading Men: The 50 Most Unforgettable Actors of the Studio Era. San Francisco, California: Chronicle Books, 2006. .
Tomkies, Mike. The Robert Mitchum Story: "It Sure Beats Working". New York: Ballantine Books, 1972. .
External links
Profile at Turner Classic Movies
Photographs and literature
1917 births
1997 deaths
20th Century Fox contract players
20th-century American male actors
20th-century American memoirists
20th-century American male singers
20th-century American singers
American country singer-songwriters
American male composers
American male film actors
American male poets
American Methodists
American baritones
American people of Scotch-Irish descent
American people of Norwegian descent
California Republicans
Capitol Records artists
Cecil B. DeMille Award Golden Globe winners
Civilian Conservation Corps people
Combat medics
Connecticut Republicans
Deaths from cancer in California
Deaths from emphysema
Deaths from lung cancer
Haaren High School alumni
Male actors from Bridgeport, Connecticut
Male Western (genre) film actors
Military personnel from Bridgeport, Connecticut
Military personnel from Connecticut
Mitchum family
Monument Records artists
Overturned convictions in the United States
People from Hell's Kitchen, Manhattan
RKO Pictures contract players
United States Army personnel of World War II
United States Army soldiers
Singer-songwriters from New York (state) | false | [
"Polish Film Award, or Eagle () is a film awards ceremony given annually since 1999,<ref>[https://www.imdb.com/event/ev0000887/1999 Awards for 1999] at the IMDb</ref> with the first event held on 21 June, by the National Chamber of Audiovisual Producers (KIPA). Since 2003 they are given out by the Polish Film Academy. Their status in the Polish film industry can be compared with Academy Awards.\n\nAwards\nList of main categories:\n\n Best Film – since 1999\n Best Actor – since 1999\n Best Actress – since 1999\n Supporting Actor – since 2000\n Supporting Actress – since 2000\n Documentary – since 2013\n Film Score – since 1999\n Director – since 1999\n Screenplay – since 1999\n Cinematography – since 1999\n Costume Design – since 2001\n Sound – since 1999\n Editing – since 1999\n Production Design – since 1999\n European Film – since 2005\n Producer – 1999–2001\n Discovery of the Year - since 2008\n TV Series – since 2015\n\nSpecial awards:\n\n Audience Award\n Special Award\n Life Achievement Award\n\n Wins and nominations\n List of films with five or more awards\n 11 wins – Corpus Christi (2019) (15 nominations)\n 10 wins – Silent Night (2018) (11 nominations)\n 9 wins – Volhynia (2017) (14 nominations)\n 8 wins – Reverse (2009) (13 nominations)\n 8 wins – The Pianist (2002) (13 nominations)\n 7 wins – 25 Years of Innocence (2020) (15 nominations)\n 7 wins – Cold War (2019) (12 nominations)\n 7 wins – Gods (2015) (13 nominations)\n 7 wins – Rose (2011) (8 nominations)\n 7 wins – Katyń (2007) (11 nominations)\n 7 wins – Jasminum (2006) (9 nominations)\n 7 wins – The Collector (2005) (8 nominations)\n 7 wins – Life as a Fatal Sexually Transmitted Disease (12 nominations)\n 6 wins – The Wedding (2004) (10 nominations)\n 6 wins – My Nikifor (2004) (10 nominations)\n 6 wins – Pan Tadeusz (1999) (11 nominations)\n 5 wins – Little Moscow (2008) (8 nominations)\n 5 wins – Zmruż oczy (2003) (8 nominacji)\n 5 wins – Pornografia (2003) (9 nominations)\n 5 wins – Cześć Tereska (2001) (10 nominations)\n 5 wins – The Debt (1998) (10 nominations)\n\n List of films with ten or more nominations\n\n Directors with two or more awards\n\n Most wins by actresses \n Kinga Preis – 16 nominations, 6 awards\n Agata Kulesza – 10 nominations, 4 awards\n Aleksandra Konieczna – 3 nominations, 3 awards\n Stanisława Celińska – 5 nominations, 2 awards\n Danuta Szaflarska – 5 nominations, 2 awards\n Maja Ostaszewska – 5 nominations, 2 awards\n Danuta Stenka – 4 nominations, 2 awards\n Joanna Kulig – 3 nominations, 2 awards\n Dominika Ostałowska – 3 nominations, 2 awards\n Krystyna Feldman – 2 nominations, 2 awards\n\n Most wins by actors \n Janusz Gajos – 12 nominations, 5 awards\n Robert Więckiewicz – 8 nominations, 5 awards\n Arkadiusz Jakubik – 9 nominations, 4 awards\n Jan Frycz – 8 nominations, 3 awards\n Jacek Braciak – 5 nominations, 3 awards\n Andrzej Chyra – 7 nominations, 2 awards\n Dawid Ogrodnik - 5 nominations, 2 awards\n Zbigniew Zamachowski – 5 nominations, 2 awards\n\n Most nominations \n Kinga Preis – 16 nominations for best actress\n Marek Wronko – 12 nominations for best sound editing\n Wojciech Kilar – 10 nominations for best score\n Wanda Zeman – 10 nominations for best film editing\n Magdalena Biedrzycka – 10 nominations for best costume design\n Jagna Janicka – 10 nominations (7 for best costume design and 3 for best production design)\n Nikodem Wołk-Łaniewski – 9 nominations for sound editing\n Janusz Gajos – 9 nominations for best actor\n\n Most wins overall\n Krzysztof Ptak – 7 awards for best cinematography\n Jacek Hamela – 6 awards for best sound editing\n Kinga Preis – 5 awards for best actress\n Janusz Gajos – 5 awards (4 for best actor and 1 lifetime achievement award)\n Wojciech Kilar – 4 awards for best score\n Robert Więckiewicz – 4 awards for best actress\n\n \"Big Five\" winners and nominees \nThe following is a list of films that won the awards for Best Film, Director, Actor, Actress and Screenplay. \n\n Winners\n The Collector (2005)\n Best Film: The Collector Best Director: Feliks Falk\n Best Screenplay: Feliks Falk\n Best Actress: Kinga Preis\n Best Actor: Andrzej Chyra\n\n Corpus Christi (2019)\n\n Best Film: Corpus Christi Best Director: Jan Komasa\n Best Screenplay: Mateusz Pacewicz\n Best Actress: Aleksandra Konieczna \n Best Actor: Bartosz Bielenia\n\n Nominees\n Four awards won\n Life as a Fatal Sexually Transmitted Disease (2000): Best Film, Best Director (Krzysztof Zanussi), Best Screenplay (Krzysztof Zanussi) and Best Actor (Zbigniew Zapasiewicz); lost: Best Actress (Krystyna Janda)\n Cześć Tereska (2001): Best Film, Best Director (Robert Gliński), Best Screenplay (Jacek Wyszomirski) and Best Actor (Zbigniew Zamachowski); lost: Best Actress (Aleksandra Gietner)\n Zmruż oczy (2002): Best Film, Best Director (Andrzej Jakimowski), Best Screenplay (Andrzej Jakimowski) and Best Actor (Zbigniew Zamachowski); lost: Best Actress (Aleksandra Prószyńska)\n Róża (2012): Best Film, Best Director (Wojciech Smarzowski), Best Screenplay (Michał Szczerbic) and Best Actress (Agata Kulesza); lost: Best Actor (Marcin Dorociński)\n Body/Ciało (2016): Best Film, Best Director (Małgorzata Szumowska), Best Actor (Janusz Gajos) and Best Actress (Maja Ostaszewska); lost: Best Screenplay (Michał Englert, Małgorzata Szumowska) \n Cold War (2018): Best Film, Best Director (Paweł Pawlikowski), Best Screenplay (Janusz Głowacki and Paweł Pawlikowski) and Best Actress (Joanna Kulig); lost: Best Actor (Tomasz Kot)\n\n Three awards won\n Reverse (2009): Best Film, Best Screenplay (Andrzej Bart) and Best Actress (Agata Buzek); lost: Best Director (Borys Lankosz), Best Actor (Marcin Dorociński)\n Ostatnia rodzina'' (2017): Best Screenplay (Robert Bolesto), Best Actor (Andrzej Seweryn) and Best Actress (Aleksandra Konieczna); lost: Best Film, lost Best Direcotr (Jan P. Matuszyński)\n\nSee also\nGdynia Film Festival\nPolish cinema\n\nReferences\n\nExternal links\n Official website \n Polish Film Awards at Internet Movie Database\n\n1999 establishments in Poland\nPolish film awards\nAwards established in 1999",
"The Chicago Film Critics Association Award for Best Cinematography is one of several categories presented by the Chicago Film Critics Association (CFCA), an association of professional film critics, who work in print, broadcast and online media, based in Chicago. Since the 3rd Chicago Film Critics Association Awards (1990), the award is presented annually. Nominations from 1991 to 1994 are not available. The first Chicago Film Critics Association Award for Best Cinematography went to Dean Semler for his work on Dances with Wolves. The most recent recipient of this award is Ari Wegner for The Power of the Dog.\n\nRoger Deakins is the cinematographer with the most nominations (13); those have resulted in the most wins (4). Emmanuel Lubezki also has four wins, but from eight nominations. Robert Richardson has eight nominations, which have resulted in two wins. Other notable achievers include Janusz Kamiński (9 nominations, 1 win) and Michael Ballhaus (4 nominations, 1 win). Six cinematographers have been nominated multiple times, but never received the award. These include Conrad Hall, Robert Elswit, and Claudio Miranda; Mandy Walker was the first female cinematographer to have received a nomination for the award. The 16th Chicago Film Critics Association Awards (2003) saw all 15 cinematographers who worked on Winged Migration nominated for Best Cinematography, while the 17th Chicago Film Critics Association Awards (2004) was the first to result in a tie. In 2007, Deakins received two nominations for his work on The Assassination of Jesse James and No Country for Old Men, the first time a cinematographer has been nominated twice in one year.\n\nWinner and nominees\n\n1990s\n\n2000s\n\n2010s\n\n2020s\n\nReferences\nGeneral\n\n \n \n\nSpecific\n\nChicago Film Critics Association Awards\nAwards for best cinematography\nAwards established in 1990"
]
|
[
"Michael Laudrup",
"Early career"
]
| C_907acbafa04846529c2980d19bfbb694_1 | What did Michael Laudrup accomplish? | 1 | What did Michael Laudrup accomplish? | Michael Laudrup | Laudrup made his senior debut in 1981, and made his debut for the Danish under-19 national team in February 1981. In all, he scored a combined total of 14 goals in 25 games at various youth levels. He went back to play for Brondby in 1982, where his father had ended his career in 1981, contributing to the promotion of Brondby to the 1st Division. At Brondby, Laudrup scored two goals in the club's 1st Division debut game, as fellow promoted team Boldklubben 1909 were beaten 7-1. He scored 15 league goals in 1982, and ended the season as the third top goal scorer of the 1st Division. His accomplishments earned him the 1982 Danish Player of the Year award. He played part of the 1983 season for Brondby, and scored nine goals, before he was sold to defending Serie A champions Juventus from Italy in June 1983. It was the biggest transfer deal in Danish football at the time, worth around $1 million. He was due to sign for Liverpool the same year on a three-year contract, but at the last minute, Liverpool proposed a four-year contract and Laudrup opted not to sign. Under restriction of a maximum of two foreign players in the team, of which the club had Polish midfielder Zbigniew Boniek and Michel Platini, Juventus initially lent Laudrup to newly promoted Rome club Lazio for a single season, something he had not been informed about before signing for Juventus. With Lazio, he scored two goals in his Serie A debut, a 2-4 loss to Hellas Verona. In his first year at Lazio, Lazio narrowly avoided relegation, but as Juventus wanted to keep Boniek and Platini, he stayed for another year. Lazio started the 1984-85 season poorly, eventually finishing in last place to become relegated to Serie B. Laudrup scored just one goal that season. Laudrup returned to Juventus in summer 1985 to replace Zbigniew Boniek, playing alongside Michel Platini. In his first year at the club, he won the 1985-86 Serie A as well as the Intercontinental Cup trophy, scoring the equalising goal in the final of the latter tournament, although he later missed a penalty in the resulting shoot-out; he was once again named Danish Player of the Year in 1985. However, the following season was no success for Laudrup, who suffered multiple injuries, much like the majority of Juventus players, including Platini. When Platini retired in 1987, Laudrup was expected to lead the team in his place, playing alongside newly bought Welsh forward Ian Rush. But Laudrup failed to live up to Platini's standards and did not score any goals, despite playing all 30 matches of the 1987-88 season. CANNOTANSWER | contributing to the promotion of Brondby to the 1st Division. | Michael Laudrup (, born 15 June 1964) is a Danish professional football coach and former player. He is the older brother of fellow retired footballer Brian Laudrup. He is widely regarded as one of the greatest players of all time.
During his playing career, Laudrup won league titles with Ajax, Barcelona, Real Madrid and Juventus, playing mainly as an attacking midfielder, although he was also capable of playing in other offensive positions. A world class playmaker, he was a member of Johan Cruyff's "Dream Team" at Barcelona, where he won nine trophies, including four successive La Liga titles from 1991 to 1994 and the European Cup in 1992. Laudrup moved to arch-rivals Real Madrid in 1994, with whom he won his fifth La Liga title in a row.
Laudrup made his debut for the Denmark national team on his 18th birthday in 1982, and scored 37 goals in 104 appearances. He starred in the 1986 FIFA World Cup, and from November 1994, he captained Denmark for a total of 28 matches, including the victorious 1995 Confederations Cup tournament. He played alongside his brother Brian in the Denmark team that reached the quarter-finals of the 1998 World Cup, and retired as an active player after the tournament.
In 1999, Laudrup was voted the Best Foreign Player in Spanish Football over the preceding 25-year period and in April 2000 he was knighted, receiving the Order of the Dannebrog. In November 2003, to celebrate UEFA's Jubilee, he was selected as the Golden Player of Denmark by the Danish Football Union, their most outstanding player of the past 50 years. He was officially named the best Danish footballer of all time by the Danish Football Union (DBU) in November 2006. He was named by Pelé in the FIFA 100 list of the world's greatest living players at a FIFA awards ceremony in 2004. In April 2013, he was named by Marca readers in the "Best foreign eleven in Real Madrid's history".
On 16 October 2021, at a show celebrating the National Olympic Committee and Sports Confederation of Denmark's 125th anniversary, 125 candidates for the title of the greatest ever Danish sports star had been reduced to eight, and Laudrup was named the winner.
After retiring as a player, Laudrup took up coaching, and became assistant manager of the Denmark national team. He got his first manager job at former club Brøndby in 2002, whom he guided to the 2005 Danish Superliga championship. He chose not to extend his contract with Brøndby in May 2006. He took over as coach of Getafe and had notable success there. He brought the club comparative success in the Copa del Rey and UEFA Cup, and the team's attacking style received plaudits. On 15 June 2012, Laudrup was appointed the manager of Premier League club Swansea City on a two-year contract. In his first season in south Wales, he won the League Cup, the first major English trophy in Swansea's 100-year history. On 4 February 2014, he was sacked by Swansea after a "significant" slump in the Premier League, leaving them two points above the relegation zone. Laudrup then managed Qatari clubs Lekhwiya and Al Rayyan between 2014 and 2018.
Club career
Born in Frederiksberg, Copenhagen, Michael Laudrup began playing football in father Finn Laudrup's childhood club Vanløse. When Finn Laudrup became player/coach of Brøndby IF in 1973, the family moved to Brøndby and both Michael and his brother Brian Laudrup started playing for the club as well. Michael followed his father to the top-flight Danish 1st Division club Københavns Boldklub in 1976, while Brian remained at Brøndby.
Early career
Laudrup made his senior debut playing for KB (Kjøbenhavns Boldklub) in 1981, and made his debut for the Danish under-19 national team in February 1981. In all, he scored a combined total of 14 goals in 25 games at various youth levels. He went back to play for Brøndby in 1982, where his father had ended his career in 1981, contributing to the promotion of Brøndby to the 1st Division.
At Brøndby, Laudrup scored two goals in the club's 1st Division debut game, as fellow promoted team Boldklubben 1909 were beaten 7–1. He scored 15 league goals in 1982, and ended the season as the third top goal scorer of the 1st Division. His accomplishments earned him the 1982 Danish Player of the Year award. He played part of the 1983 season for Brøndby, and scored nine goals, before he was sold to defending Serie A champions Juventus from Italy in June 1983. It was the biggest transfer deal in Danish football at the time, worth around $1 million. He was due to sign for Liverpool the same year on a three-year contract, but at the last minute, Liverpool proposed a four-year contract and Laudrup opted not to sign.
Under restriction of a maximum of two foreign players in the team, of which the club had Polish midfielder Zbigniew Boniek and Michel Platini, Juventus initially lent Laudrup to newly promoted Rome club Lazio for a single season, something he had not been informed about before signing for Juventus. With Lazio, he scored two goals in his Serie A debut, a 2–4 loss to Hellas Verona. In his first year at Lazio, Lazio narrowly avoided relegation, but as Juventus wanted to keep Boniek and Platini, he stayed for another year. Lazio started the 1984–85 season poorly, eventually finishing in last place to become relegated to Serie B. Laudrup scored just one goal that season.
Laudrup returned to Juventus in summer 1985 to replace Zbigniew Boniek, playing alongside Michel Platini. In his first year at the club, he won the 1985–86 Serie A as well as the Intercontinental Cup trophy, scoring the equalising goal in the final of the latter tournament, although he later missed a penalty in the resulting shoot-out; he was once again named Danish Player of the Year in 1985. However, the following season was not a success for Laudrup, who suffered multiple injuries. When Platini retired in 1987, Laudrup was expected to lead the team in his place, playing alongside newly bought Welsh forward Ian Rush. But Laudrup failed to live up to Platini's standards and did not score any goals, despite playing all 30 matches of the 1987–88 season.
Barcelona
After an unsuccessful season with Juventus, Laudrup decided it was time to leave, looking for a new experience after six years in Italy. In 1989, he joined Spanish club Barcelona on the premise that Netherlands coach Johan Cruyff, his childhood role model, had been assembling a team that was striving for success. Immediately, Laudrup enjoyed major success under Cruyff's leadership, citing the Dutchman's philosophy and perception of the game as one of the main assets that helped foster his talent. He was one of the restricted three foreign players allowed in the team, alongside Dutch defender Ronald Koeman and Bulgarian striker Hristo Stoichkov, who were the pillars of the Barça "Dream Team", along with rising stars Pep Guardiola, José Mari Bakero, and Txiki Begiristain.
The Dream Team played attractive football that was comparable to the 1970s Ajax team, and won four consecutive La Liga championships from 1991 to 1994, as well as the 1991–92 European Cup, along with the 1992 UEFA Super Cup, 1989–90 Copa del Rey and 1991 and 1992 Supercopa de España titles. Laudrup was twice named the best player of the year in Spain during his Barcelona years. When Barça hired a fourth foreign star player, Brazilian striker Romário in 1993, it meant the four foreigners would rotate as the three foreign players allowed in each match, and when he was not selected for the 1994 European Cup final 0–4 loss to Milan (amid conflicts with Cruyff), his time at Barcelona was effectively over. After the match, Milan's manager Fabio Capello remarked: "Laudrup was the guy I feared but Cruyff left him out, and that was his mistake."
Laudrup's departure from Barcelona was a huge blow for the fans and his teammates alike. Pep Guardiola was reportedly so upset by the news that he cried and begged Laudrup to change his mind. Reflecting on his time at Barcelona, Laudrup commented, "I think we played some very good football, and I think most of all we demonstrated that even without getting the ten best players in the world, you can have the best team. Because everybody talked about Begiristain, Bakero, Guardiola, Stoichkov, and Koeman, but when we started none of us was a best player, then we became maybe the best team in the world, together with AC Milan in that period."
Real Madrid
In 1994, Laudrup completed a controversial move from Barça to Real Madrid after he fell out with Johan Cruyff. On this, Laudrup stated he did not have a hidden agenda. It was the year after the 1994 FIFA World Cup and according to him, because players usually suffer a drop in performance after such a major international tournament, he correctly predicted that Barcelona would not win major trophies the following season.
Despite widespread belief Laudrup joined arch-rivals Real Madrid in an attempt to "get back" at Cruyff, the decision was based on the fact Real Madrid had been struggling for a long period and were eager to return to supremacy, like Barcelona when he decided to join them. Laudrup said, "People say I wanted to go to Real Madrid just to get revenge. I say revenge from what? I've had a perfect time; five fantastic years here [at Barcelona]. I went to Madrid because they were so hungry to win, and they had four or five players who went to the World Cup. I said this would be perfect; new coach, new players, and hungry to win." On 5 November 1994, he assisted Raúl's first professional goal in a 4–2 win over Atlético Madrid
Laudrup went on to guide Real Madrid in a championship-winning season that would end the Barça stranglehold, making him the only player ever to win the Spanish league five times in a row playing for two different clubs. After the initial success at Real, a lacklustre season would be in store for the club. Despite only playing two seasons at Real Madrid, he was voted the 12th-best player in Real Madrid history in an internet survey by Spanish newspaper Marca when the club celebrated its 100th anniversary in 2002. While playing with Barcelona, he participated in the 5–0 victory over rivals Real Madrid in the 1993–94 season. The following season while playing for Real Madrid, he aided in the revenge beating Madrid gave Barça, the final score also ending 5–0. Daniel Storey wrote of Laudrup, "no other player is loved on both sides of the clásico divide quite like Laudrup" as he remains held in high regard by both Barça and Madrid fans. Following the match, Laudrup's former Barcelona manager Cruyff commented: "When Michael plays like a dream, a magic illusion, determined to show his new team his extreme abilities, no one in the world comes anywhere near his level."
Later career and retirement
In 1996, Laudrup left Real Madrid to play for Vissel Kobe in Japan. On 18 August 1996, he played his first match for Vissel Kobe and scored two goals in a 4–2 win against Brummell Sendai. He helped Vissel to promotion from the second-tier Japan Football League to the J1 League. He was registered as a player in Bosnian Premier League club Čelik Zenica in a controversial signing in which he did not play any games for Čelik, but was signed as a player. After the details were resolved, he ended his playing career in a championship winning season at Dutch side Ajax in 1998.
Following his retirement, Laudrup sometimes turned out to play for Lyngby's Old Boys team in his spare time.
International career
Laudrup was called up for the Denmark national team during Brøndby's debut season in the top-flight. On his 18th birthday on 15 June 1982, he became the then-second-youngest Danish national team player ever, following Harald Nielsen. Despite playing for relegation battlers Lazio, Laudrup starred for the Denmark national team at UEFA Euro 1984, playing all four of Denmark's matches.
Laudrup participated in the 1986 FIFA World Cup in Mexico, a performance which is best remembered for his exceptional solo dribble and goal in the 6–1 defeat of Uruguay. He was also a part of the disappointing Denmark squad at Euro 1988, though Laudrup experienced personal success, scoring one of Denmark's two goals.
Following three matches in the qualification campaign for Euro 1992, Laudrup opted to quit the national team in November 1990 (alongside his brother Brian Laudrup and Jan Mølby) following differences with coach Richard Møller Nielsen. The Danes originally failed to qualify but were later given Yugoslavia's place as Yugoslavia were disqualified due to war in their country. Notwithstanding their qualification, Laudrup rated Denmark's chances of success so low he stayed on holiday. However, Denmark caused one of the biggest upsets in football history by going on to win the tournament, beating holders the Netherlands in the semi-final and, in the final beating reigning world champions and favourites Germany, with a 2–0 win thanks to goals from John Jensen and Kim Vilfort.
Laudrup returned to Nielsen's Danish squad in August 1993, but saw Spain and the Republic of Ireland qualify for the 1994 World Cup ahead of Denmark. He scored a goal in the 2–0 victory against Argentina, as Denmark won the 1995 Intercontinental Cup. He also scored four goals in ten matches as Denmark qualified for Euro 1996.
Laudrup's last matches for Denmark came at the 1998 World Cup, when he captained the nation to the quarter-final. Laudrup made his 100th appearance for Denmark in the team's opening game of the tournament, a 1–0 defeat of Saudi Arabia in Lens. Denmark was defeated 2–3 by Brazil in the quarter-finals, and both Michael and Brian Laudrup announced their international retirement following the elimination. Both brothers ended their international careers on a high note as both Michael and Brian were named in FIFA's All-Star Team.
Player profile
Style of play
A quick, intelligent and talented midfielder, known for his pace on the ball, Laudrup is regarded as one of the most effective and versatile attacking midfielders, as well as one of the most skilful and elegant players in the history of the game. Although primarily an offensive playmaker, he was capable of playing in several positions in or behind the front-line, and was even deployed as a winger, as a central midfielder or deep-lying playmaker, or as a second striker on occasion, in particular in his youth, or even as a forward or striker on rarer instances; he was also used as a centre-forward on occasion under his Barcelona manager Johan Cruyff, a role which was similar to that of the modern false 9 role. Laudrup is considered by many in the sport as one of the best passers of all time, and as one of the most technically accomplished players ever.
Regarding Laudrup's vision and passing ability, his brother Brian stated in 2008: "My brother started as an attacker but became an elegant attacking midfielder, perhaps the most complete there has ever been. His vision, speed of thought and passing were on a different level; he always knew what was going to happen before anybody else did. If anyone had a 'football brain', it was him." Despite being primarily a creative team player, he also possessed an accurate shot, and was capable of scoring goals as well as creating them.
Nicknamed "The Prince of Denmark," throughout his career, Laudrup was acclaimed for his technique, balance, elegance, ball control, and dribbling ability, as well as his vision, ability to read the game, and range of passing, including deep passes, through balls, and crosses, which made him an excellent assist provider. In regard to his vision, Jorge Valdano, the Argentinian coach of Laudrup in Real Madrid, said, "[H]e has eyes everywhere." His trademark move – looking one way and passing the other – fooled countless opponents during his career.
The Laudrup dribble, a signature feint also known as the croqueta, was perhaps the best-known part of his game, and involved him quickly moving the ball from one foot to the other away from the defender, a move which was later also popularised by later Barcelona midfielder Andrés Iniesta. Laudrup's ball skills and feints were combined with creativity, which he used to get past defenders in one on one situations. This led to the expression "Made in Laudrup" being coined in the Spanish football media, which was widely used in Spain to describe his trademark assists, in particular his lobbed passes, as well as his unique play. According to a 2018 article by Josh Butler of The Athletic and These Football Times, several of Laudrup's teammates said of his creative style of play: "Just run, he will always find a way of passing you the ball."
Reception
Throughout his career, Laudrup was often ranked among the best players in the world, with the French three-time European footballer of the year award winner Michel Platini describing him as one of the most talented players ever, only lamenting his lack of selfishness causing him to score too few goals. In a 2006 interview, Laudrup's Real Madrid teammate Raúl called him the best player he had ever played with, a view echoed by his Barcelona teammate Romário, who opined that he was able to create and score goals almost at will, and ranked him the fourth-best player in the history of the game (behind Pelé, Diego Maradona and himsel). Luís Figo instead labelled Laudrup as arguably the best opponent he had ever faced. Ronald Koeman rated Laudrup as "possibly the most skillful and elegant player [he] ever played with," adding: "Few could dribble like he could. He could sense when a game was ready to be seized and transformed by a moment of individual brilliance." Roberto Galia stated in 2008: "I have played against Maradona, Platini and Baggio. But the player I saw do the most indescribable things was Michael Laudrup." Former teammate Guillermo Amor said: "I have never seen a better player in one-on-ones. He was our special player."
Thierry Henry named Laudrup as the best player he had never played with, saying he did not know any better passer than him and "the world of football did not give him the credit that guy [Laudrup] deserved." John Toshack ranked Laudrup as "the best player of his generation," likening him to Cruyff both as a player and a manager, a view shared by Franz Beckenbauer, who dubbed Laudrup the best player of the 90s. Javier Clemente once stated: "To me, Michael Laudrup is the most genius player the world has ever seen. He will always be my numero uno. Always." José Mari Bakero instead remarked: "No one has given the club [Barcelona] as much inspiration as Michael. We all look up to him. It is a privilege to have your day enriched by a genius." In 2012, Ian Rush described him as "an incredible player," who "probably had the most individual skill" he had ever seen. Daniel Storey of Planet Football stated in 2020 that he believed that Laudrup was one of the most underrated players of the previous 30 years, a view shared by Albert Ferrer, who stated in 2009: "Few people made me enjoy the game as much as Michael. Maybe he didn't get the media recognition he deserved, but he was so classy and a real thinker. A master of the blind pass and impossible through-balls and I will never forget his 'spoon' pass in a game against Osasuna. He lifted the ball right over the defence and Romario touched it in first time."
At Barcelona, Laudrup played alongside Hristo Stoichkov, who scored many goals from Laudrup's passes. Regarding Laudrup's ability to create chances for his teammates, he commented in his 2008 autobiography: "From more than hundred goals that I scored I'm sure that over 50 were assisted by Michael. To play with him was extremely easy. We found each other by intuition on the field and found common football language. Look at Ivan Zamorano. Laudrup went there (Real) and Zamorano is a goalscorer. Sometimes I envy Ivan for the passes he receives. Passes on foot after you accelerated. Few people understand football like the Danish player. He can only be compared with Maradona, Schuster or Roberto Baggio. They make things easy and find the right solutions. For them [it] is simple, for the opponent – unthinkable. Phenomenal! His only problem is his character. He is emotional and terribly reserved. This affects him a lot, because he takes everything personally – no matter if someone tells him something or decision that he does not agree. His relations with Cruyff were delicate because he couldn't take the critics. I listen to him but I don't care that much. For Michael this was fatal. He couldn't take it anymore so he left without a word." That same year, in an interview with FourFourTwo magazine, Stoichkov included Laudrup in his "Perfect XI," and labelled him as: "One of the best European players I've ever seen," and as a player who was "up there with the greats." He went on to describe him as: "An elegant, old-fashioned playmaker," who "did things few other footballers could do." In 2010, he instead said that "Laudrup was the greatest."
Another striker who benefitted from Laudrup's playmaking abilities was Real Madrid teammate Iván Zamorano, who called Laudrup "El Genio" ("The Genius," in Spanish) during Laudrup's time in the Spanish capital. Zamorano was going through a hard spell in Madrid, but when Laudrup arrived to assist his goals, Zamorano immediately became the top goalscorer of La Liga, winning the pichichi trophy; Zamorano himself credited Laudrup for his role in his increased goalscoring output, describing him as a "genius," while also commenting: "...The reason why I make so many goals is Laudrup." He also stated: "Michael was a magician and one of the greatest players ever. He was amazing in one-on-ones too. I always say that Laudrup had three eyes, not two like everyone else. As a forward, I had to be aware all the time, because he could make you a chance out of nothing and you had to be prepared for that moment." Andrés Iniesta, who became known for using Laudrup's signature dribbling move – the croqueta – rated Laudrup as the greatest player of all time.
Throughout his career, his number of assists were almost always the highest of his team. However, despite his talent and reputation as one of the most technically gifted and creative players of his generation, certain players, pundits and managers have questioned Laudrup's work rate, mentality, determination, and consistency throughout his career at times, in particular in his early career. His former Juventus teammate and admirer Michel Platini, for example, once said, "[Laudrup]'s the greatest player in the world, in training," also describing him as "one of the biggest talents ever," while also lamenting that he "never used his talent to its fullest during matches." His former Barcelona manager Johan Cruyff described him as "One of the most difficult players [he had] worked with," adding: "When he gives 80–90% he is still by far the best, but I want 100%, and he rarely does that." In 1998, he stated: "Had Michael been born in a poor ghetto in Brazil or Argentina with the ball being his only way out of poverty he would today be recognised as the biggest genius of the game ever. He had all the abilities to reach it but lacked this ghetto-instinct, which could have driven him there." At Swansea in 2012, Alan Tate commented: "He is still the best player in training at [age] 48 years." This was echoed by Swansea player Danny Graham: "Laudrup was the best player in training by a mile. It was unreal." In addition to his playing ability, Laudrup was known for his good conduct on the pitch and he never received a red card in his career.
Managerial career
Early years
After his playing career ended with Ajax, Laudrup became a coach at age 36 when he started serving as an assistant coach for the Denmark national team head coach Morten Olsen in 2000. The national team would play a 4–2–3–1 formation, depending on two fast wingers and with the aim to dominate games with a short-passing possession game. Together, they led Denmark to the knock-out stage of the 2002 World Cup.
Brøndby
After his success as Denmark assistant manager, Laudrup signed on as manager for Danish Superliga club Brøndby. As his assistant coach, he paired up with former Danish championship winning manager John Jensen, who had played alongside him in the Denmark national team. At the start of his reign, he proclaimed a tactical scheme close to that which Olsen and he had coached at the national team. He renovated the Brøndby team by letting a large contingent of older and experienced players leave, in favour of several new offensive players, and he also gave the chance to young talents from the club's youth scheme.
To ensure the defensive strength of the team, Laudrup signed proven national team player Morten Wieghorst. He began his reign as Brøndby manager by winning his first trophy in his managerial career, the 2002 Danish Supercup. In his first season as head coach, he guided the team to win the Danish Cup, after Brøndby beat Midtjylland 3–0 in the final and runners-up in the Danish Superliga. Laudrup's success led him to being voted and awarded the Danish Manager of the Year.
In the following season, he again finished the season runners-up to first place Copenhagen by just one point. However, he would not be denied in the 2004–05 season, where he finally led the team to the Danish Superliga title. In the same season, he also completed The Double after he won his second Danish Cup in four seasons. This saw him being given his second Danish Manager of the Year award. After finishing runners-up in the 2005–06 Danish Superliga, Laudrup announced that he, along with assistant Faxe Jensen, could not come to an agreement for a one-year contract extension that was offered by the club. The pair, after winning four trophies in four seasons, subsequently left Brøndby in June 2006.
Laudrup was associated with several new jobs, including becoming manager of former club Real Madrid and that he would replace Lars Lagerbäck as head coach of the Sweden national team.
In 2007, Brøndby decided to name a new lounge at the stadium "The Michael Laudrup Lounge", with Laudrup's approval. His success led him to being voted and awarded the Danish Manager of the Year.
Getafe
On 21 June 2007, Laudrup was linked to a move to Madrid-based La Liga club Getafe by sports newspaper Marca. This was confirmed on 9 July 2007. During his stay in Getafe, the club reached the final of the Copa del Rey, losing to Valencia, and the quarter-finals of the UEFA Cup, losing in extra time to Bayern Munich. During his tenure as successor to Bernd Schuster, he brought in a new brand of exciting and free-flowing attacking football to the club, bringing back memories of Laudrup as a player. His team, which was not one of the established powers in Spanish football, enjoyed comparative success. However, he performed only one season as manager, resigning in May 2008.
After Laudrup announced his departure from Getafe, he was linked with jobs at Barcelona, Valencia, Benfica, Chelsea, Blackburn Rovers, Panathinaikos, CSKA Moscow and West Ham United. He almost got the job at Panathinaikos, but according to Danish media, he wanted an option to allow him to leave if he received an offer from a Spanish club. This request was not accepted by the Greeks, who chose to hire Henk ten Cate instead.
Spartak Moscow
On 12 September 2008, it was officially announced that Laudrup had signed a one-and-a-half-year contract to manage Spartak Moscow, replacing Stanislav Cherchesov following his dismissal after a string of poor results. However, Laudrup started on a poor note, winning just one of his first four league matches. He was subsequently sacked on 15 April 2009, just seven months on the job, in the wake of Spartak's quarter-final 3–0 loss to Dynamo Moscow in the Russian Cup. The official statement from Spartak read, "From this point onwards, head coach Michael Laudrup has been relieved of his responsibilities because of unsatisfactory results."
On 22 October 2009, Spanish media announced Laudrup would be appointed as new manager of Spanish side Atlético Madrid, replacing the short and unsuccessful run of Abel Resino, following Atlético's 4–0 UEFA Champions League group stage defeat to Chelsea. However, Laudrup and Atlético were not able to agree on terms and the deal fell apart. The day after, on 23 October, Resino was sacked and Quique Sánchez Flores was appointed as coach as the side's second-choice.
Mallorca
In July 2010, Laudrup was appointed manager of Mallorca on a contract lasting until the end of June 2012. In his first season, he kept the struggling Mallorca side from relegation, which was suffering from losing many first team players and who was ejected from the UEFA Europa League due to its poor financial situation. At the beginning of the 2011–12 season, on 27 September 2011, Laudrup resigned as manager following the firing of his assistant, Erik Larsen. Laudrup cited great frustration with Lorenzo Serra Ferrer, the club's director of football, leading to a bad work climate as the main reason for his resignation.
Swansea City
On 15 June 2012, Laudrup was appointed manager of Swansea City on a two-year contract, becoming the first Dane to manage in the Premier League. He made several new signings after arriving at Liberty Stadium, including Michu, Chico Flores, Pablo Hernández, Jonathan de Guzmán and Ki Sung-yueng. His first competitive match as Swansea manager came as an impressive 0–5 away win at Loftus Road against Queens Park Rangers.
At Swansea, Alan Tate said that Laudrup was considered to be the best player in training, despite being 48 years old. He has been commended for his choice of signings, most notably with Michu, who scored 22 goals in 2012 for Swansea after he signed him for a bargain €2.5 million from Rayo Vallecano. On 23 January 2013, he led Swansea into their first ever major cup final after defeating reigning European champions Chelsea 2–0 on aggregate over two legs in the League Cup semi-finals.
On 7 February 2013, Laudrup appointed former Danish international midfielder Morten Wieghorst as his assistant after previously signing him as a player when Laudrup was managing Brøndby. Laudrup would later say he "certainly" believes Wieghorst "can be manager" of Swansea, as "he has experience from Scottish football and is familiar with English football". On 24 February, Laudrup said he had no "ambition to become the manager" of a big club, because he could not "have done everything for 10 years" in management and then be fired "after nine months" for not winning any trophies. He also said it gave him "much more pleasure to see how well" he could do where he did not "have to win all the time".
On 24 February 2013, Laudrup won his first trophy with Swansea after his side beat Bradford City 5–0 to win the Football League Cup at Wembley. This was also Swansea's first major trophy in English football in the club's history.
Following Swansea's 1–0 win over Newcastle United on 2 March 2013 the club moved into eighth position in the top-half of the Premier League table, seemingly safe from relegation with 40 points and ten games left; Laudrup said he wanted Swansea to finish eighth, stating that "coming eighth [will be] like winning the league" for the club because he felt "the first seven spots" were already taken by Manchester United, Manchester City, Chelsea, Tottenham Hotspur, Arsenal, Liverpool and Everton. On 3 March, though he had said that his "intention" was "to stay" in south Wales for the next year, Swansea chairman Huw Jenkins said that the club were in the "process of looking for the next manager" of the club in case Laudrup did choose to leave the club.
On 8 March 2013, Laudrup signed a new contract with Swansea, keeping him at the club until 2015. Reports indicated that he agreed to a contract with a release clause in the region of £5 million, much like the release clause Brendan Rodgers agreed to when he signed a contract extension at the Liberty Stadium four months prior to joining Liverpool. On 10 May, however, he confirmed that his "intention" was to stay at Swansea "next season," saying that reports he wanted to leave Wales was "pure speculation."
On 4 February 2014, Laudrup was sacked by Swansea following a poor run of form which left the club two points clear of relegation. At the time of the decision, the team had lost six out of their last eight league games.
Lekhwiya
On 30 June 2014, Laudrup became the new manager of Qatar Stars League champions Lekhwiya after signing a one-year deal. He guided the Lekhwiya to a club-record Qatar Stars League and a Crown Prince Cup double in his first season. The club also qualified for the quarter-finals of the 2015 AFC Champions League during his reign. On 17 June 2015, Laudrup announced that he would not extend his contract, departing the club.
Al Rayyan
On 3 October 2016, Laudrup was unveiled as the new manager of Al Rayyan on a two-year contract, replacing Jorge Fossati. His first match in charge was on 15 October 2016, when Al Rayyan faced Al Sailiya in an away match in the league, with the match ending in a 1–1 draw.
Style of management and tactics
As assistant manager to Morten Olsen, the Denmark national team employed a 4–2–3–1 system with pacey wingers playing the pivotal role in attack. Laudrup learnt from Olsen and used the same tactical style with Brøndby, with the team becoming more attacking and focused on a short passing style. He continued to employ a similar tactical style when he joined Getafe, ushering a new brand of exciting and free-flowing attacking football to help the club to the Copa del Rey final. However, at Spartak Moscow, he could not adapt his formation and tactics to the Russian game, with the club unable to score enough goals per match.
As Mallorca manager, Laudrup inspired a team that lost a number of key players from relegation by playing an offensive game. In 2012, he joined Swansea City as manager, replacing Brendan Rodgers. Under Rodgers, Swansea were known to play a 4–3–3 approach with a lot of focus on passing, where the full-backs pushed up when in possession and the outfield players played a high tempo pressing game. Under Laudrup, the team began employing a 4–2–3–1 formation, becoming more attacking while retaining the passing and pressing game. He also signed a number of new players, primarily from La Liga, trying to bring the attacking style from Spain to Wales, which saw more goals scored. He said, "You can get a lot of quality for a reasonable amount in Spain right now."
Laudrup earned plaudits for maintaining their flowing, attacking brand of football and attractive, passing style of play throughout the season, which saw his side win the League Cup, after beating Bradford City a record 5–0 in the final. "You can't ask players to do things that Cristiano Ronaldo and Lionel Messi are doing, but you can ask the easy things," he said. "Sometimes the easiest things in football, a simple pass five or eight yards, can be the most effective. That, everybody can learn."
Outside of football
Personal life
Michael Laudrup is part of a family with three generations of footballers. His uncle was former Brøndby and Aberdeen manager Ebbe Skovdahl. He is the son of former Danish national team player Finn Laudrup. From his marriage with his first wife, Tina Thunø, Laudrup has a son, Mads. Mads has been the team captain of various Danish youth national teams since January 2005. Today, he is married with Siw Retz Laudrup, with whom he has two children, Andreas and Rebecca. Andreas was selected a part of the under-16 national team in March 2006.
Michael Laudrup has a younger brother, Brian Laudrup, who was also a footballer. Brian Laudrup is the record holder of Danish player of the year awards with four, and was rated by FIFA as the fifth-best player in the world in 1992. Brian Laudrup was in the Euro 92 Team of the Tournament and World Cup 98 Team of the Tournament. Brian was also known for his part in the Rangers squad which won nine consecutive titles in the 1990s. Brian was a part of the trophy-winning Danish national team at UEFA Euro 1992, but Michael did not play in that championship due to differences with the national team coach Richard Møller Nielsen and because he thought that the barring of Yugoslavia for political, rather than football, reasons was not just. In 2004, both the Laudrup brothers were named in the FIFA 100, a list of the 125 greatest living footballers chosen by Pelé as part of the celebration of FIFA's 100th anniversary.
Politics and business
Alongside his professional football career, Laudrup began importing Spanish wine to Denmark starting in 1993. Initially, the wine import was sort of a hobby, but business grew rapidly and today his company Laudrup Vin og Gastronomi has over ten employees, runs a Wine Academy and imports wines from all over the world.
In 2004, Michael Laudrup was one of the founders of CEPOS, a Danish classical liberal/free-market conservative think-tank.
Career statistics
Club
International
Scores and results list Denmark's goal tally first, score column indicates score after each Laudrup goal.
Managerial statistics
Honours
Player
Juventus
Serie A: 1985–86
Intercontinental Cup: 1985
Barcelona
La Liga: 1990–91, 1991–92, 1992–93, 1993–94
Copa del Rey: 1989–90
Supercopa de España: 1991, 1992
European Cup: 1991–92
UEFA Super Cup: 1992
Real Madrid
La Liga: 1994–95
Ajax
Eredivisie: 1997–98
KNVB Cup: 1997–98
Denmark
FIFA Confederations Cup: 1995
Individual
Danish Player of the Year (2): 1982, 1985
Don Balón Award – La Liga Best Foreign Player of the Year: 1991–92
ESM Team of the Year: 1994–95
FIFA XI (Reserve): 1996
FIFA World Cup All-Star Team: 1998
Best Foreign Player in Spanish Football in the last 25 years: 1974–1999
UEFA Golden Player (Greatest Danish Footballer of the last 50 Years): 2003
FIFA 100
Denmark's Best Player of All Time: 2006
Scandinavia Best Player Ever: 2015
Danish Football Hall of Fame
World Soccer The Greatest Players of the 20th century: The 100 Greatest Footballers of All Time
Manager
Brøndby
Danish Superliga: 2004–05
Danish Cup: 2002–03, 2004–05
Danish League Cup: 2005
Danish Supercup: 2002
Swansea City
Football League Cup: 2012–13
Lekhwiya
Qatar Stars League: 2014–15
Crown Prince Cup: 2014–15
Individual
Danish Manager of the Year: 2002–03, 2004–05
Qatar Stars League Manager of the Month: August 2014, December 2014
Orders
Order of the Dannebrog: 2000
Films
Jørgen Leth, "Michael Laudrup – en fodboldspiller", Denmark, 1993
References
Sources
Further reading
Bruno Bernardi, "Michael Laudrup", Italy, 1986
Flemming Nielsen and Vagn Nielsen, "Fodboldkunstneren Michael Laudrup : rundt om en stjerne", Denmark, 1986
Michael Laudrup, "Mod nye mål", Denmark, 1989,
External links
1964 births
Living people
Sportspeople from Frederiksberg
Danish footballers
Association football midfielders
Association football forwards
Kjøbenhavns Boldklub players
Brøndby IF players
Juventus F.C. players
S.S. Lazio players
FC Barcelona players
Real Madrid CF players
Vissel Kobe players
AFC Ajax players
Danish 1st Division players
Serie A players
La Liga players
J1 League players
Japan Football League (1992–1998) players
Eredivisie players
UEFA Champions League winning players
Denmark youth international footballers
Denmark under-21 international footballers
Denmark international footballers
UEFA Euro 1984 players
1986 FIFA World Cup players
UEFA Euro 1988 players
1995 King Fahd Cup players
UEFA Euro 1996 players
1998 FIFA World Cup players
FIFA Confederations Cup-winning players
FIFA 100
FIFA Century Club
UEFA Golden Players
Danish expatriate footballers
Danish expatriate sportspeople in Italy
Danish expatriate sportspeople in Spain
Danish expatriate sportspeople in Japan
Danish expatriate sportspeople in the Netherlands
Expatriate footballers in Italy
Expatriate footballers in Spain
Expatriate footballers in Japan
Expatriate footballers in the Netherlands
Danish football managers
Brøndby IF managers
Getafe CF managers
RCD Mallorca managers
FC Spartak Moscow managers
Swansea City A.F.C. managers
Lekhwiya SC managers
Al-Rayyan SC managers
Danish Superliga managers
La Liga managers
Russian Premier League managers
Premier League managers
Qatar Stars League managers
Danish expatriate football managers
Danish expatriate sportspeople in Russia
Danish expatriate sportspeople in Wales
Danish expatriate sportspeople in Qatar
Expatriate football managers in Spain
Expatriate football managers in Russia
Expatriate football managers in Wales
Expatriate football managers in Qatar
Danish knights | false | [
"Laudrup is the last name of a family of football (soccer) players:\n Finn Laudrup, father of Michael and Brian, former Brøndby IF and Denmark national team.\n Michael Laudrup, former captain of the Denmark national team, former Juventus, Barcelona, Real Madrid and Ajax player among other clubs. Managed Denmark and various clubs.\n Brian Laudrup, former Denmark national team player, former Bayern München, AC Milan, Rangers, Chelsea and Ajax player among other clubs.\n Mads Laudrup, son of Michael, retired.\n Andreas Laudrup, son of Michael, retired.\n Nicolai Laudrup, son of Brian, retired.",
"Michael Laudrup (, born 15 June 1964) is a Danish professional football coach and former player. He is the older brother of fellow retired footballer Brian Laudrup. He is widely regarded as one of the greatest players of all time.\n\nDuring his playing career, Laudrup won league titles with Ajax, Barcelona, Real Madrid and Juventus, playing mainly as an attacking midfielder, although he was also capable of playing in other offensive positions. A world class playmaker, he was a member of Johan Cruyff's \"Dream Team\" at Barcelona, where he won nine trophies, including four successive La Liga titles from 1991 to 1994 and the European Cup in 1992. Laudrup moved to arch-rivals Real Madrid in 1994, with whom he won his fifth La Liga title in a row.\n\nLaudrup made his debut for the Denmark national team on his 18th birthday in 1982, and scored 37 goals in 104 appearances. He starred in the 1986 FIFA World Cup, and from November 1994, he captained Denmark for a total of 28 matches, including the victorious 1995 Confederations Cup tournament. He played alongside his brother Brian in the Denmark team that reached the quarter-finals of the 1998 World Cup, and retired as an active player after the tournament.\n\nIn 1999, Laudrup was voted the Best Foreign Player in Spanish Football over the preceding 25-year period and in April 2000 he was knighted, receiving the Order of the Dannebrog. In November 2003, to celebrate UEFA's Jubilee, he was selected as the Golden Player of Denmark by the Danish Football Union, their most outstanding player of the past 50 years. He was officially named the best Danish footballer of all time by the Danish Football Union (DBU) in November 2006. He was named by Pelé in the FIFA 100 list of the world's greatest living players at a FIFA awards ceremony in 2004. In April 2013, he was named by Marca readers in the \"Best foreign eleven in Real Madrid's history\".\n\nOn 16 October 2021, at a show celebrating the National Olympic Committee and Sports Confederation of Denmark's 125th anniversary, 125 candidates for the title of the greatest ever Danish sports star had been reduced to eight, and Laudrup was named the winner. \n\nAfter retiring as a player, Laudrup took up coaching, and became assistant manager of the Denmark national team. He got his first manager job at former club Brøndby in 2002, whom he guided to the 2005 Danish Superliga championship. He chose not to extend his contract with Brøndby in May 2006. He took over as coach of Getafe and had notable success there. He brought the club comparative success in the Copa del Rey and UEFA Cup, and the team's attacking style received plaudits. On 15 June 2012, Laudrup was appointed the manager of Premier League club Swansea City on a two-year contract. In his first season in south Wales, he won the League Cup, the first major English trophy in Swansea's 100-year history. On 4 February 2014, he was sacked by Swansea after a \"significant\" slump in the Premier League, leaving them two points above the relegation zone. Laudrup then managed Qatari clubs Lekhwiya and Al Rayyan between 2014 and 2018.\n\nClub career\nBorn in Frederiksberg, Copenhagen, Michael Laudrup began playing football in father Finn Laudrup's childhood club Vanløse. When Finn Laudrup became player/coach of Brøndby IF in 1973, the family moved to Brøndby and both Michael and his brother Brian Laudrup started playing for the club as well. Michael followed his father to the top-flight Danish 1st Division club Københavns Boldklub in 1976, while Brian remained at Brøndby.\n\nEarly career\nLaudrup made his senior debut playing for KB (Kjøbenhavns Boldklub) in 1981, and made his debut for the Danish under-19 national team in February 1981. In all, he scored a combined total of 14 goals in 25 games at various youth levels. He went back to play for Brøndby in 1982, where his father had ended his career in 1981, contributing to the promotion of Brøndby to the 1st Division.\n\nAt Brøndby, Laudrup scored two goals in the club's 1st Division debut game, as fellow promoted team Boldklubben 1909 were beaten 7–1. He scored 15 league goals in 1982, and ended the season as the third top goal scorer of the 1st Division. His accomplishments earned him the 1982 Danish Player of the Year award. He played part of the 1983 season for Brøndby, and scored nine goals, before he was sold to defending Serie A champions Juventus from Italy in June 1983. It was the biggest transfer deal in Danish football at the time, worth around $1 million. He was due to sign for Liverpool the same year on a three-year contract, but at the last minute, Liverpool proposed a four-year contract and Laudrup opted not to sign.\n\nUnder restriction of a maximum of two foreign players in the team, of which the club had Polish midfielder Zbigniew Boniek and Michel Platini, Juventus initially lent Laudrup to newly promoted Rome club Lazio for a single season, something he had not been informed about before signing for Juventus. With Lazio, he scored two goals in his Serie A debut, a 2–4 loss to Hellas Verona. In his first year at Lazio, Lazio narrowly avoided relegation, but as Juventus wanted to keep Boniek and Platini, he stayed for another year. Lazio started the 1984–85 season poorly, eventually finishing in last place to become relegated to Serie B. Laudrup scored just one goal that season.\n\nLaudrup returned to Juventus in summer 1985 to replace Zbigniew Boniek, playing alongside Michel Platini. In his first year at the club, he won the 1985–86 Serie A as well as the Intercontinental Cup trophy, scoring the equalising goal in the final of the latter tournament, although he later missed a penalty in the resulting shoot-out; he was once again named Danish Player of the Year in 1985. However, the following season was not a success for Laudrup, who suffered multiple injuries. When Platini retired in 1987, Laudrup was expected to lead the team in his place, playing alongside newly bought Welsh forward Ian Rush. But Laudrup failed to live up to Platini's standards and did not score any goals, despite playing all 30 matches of the 1987–88 season.\n\nBarcelona\nAfter an unsuccessful season with Juventus, Laudrup decided it was time to leave, looking for a new experience after six years in Italy. In 1989, he joined Spanish club Barcelona on the premise that Netherlands coach Johan Cruyff, his childhood role model, had been assembling a team that was striving for success. Immediately, Laudrup enjoyed major success under Cruyff's leadership, citing the Dutchman's philosophy and perception of the game as one of the main assets that helped foster his talent. He was one of the restricted three foreign players allowed in the team, alongside Dutch defender Ronald Koeman and Bulgarian striker Hristo Stoichkov, who were the pillars of the Barça \"Dream Team\", along with rising stars Pep Guardiola, José Mari Bakero, and Txiki Begiristain.\n\nThe Dream Team played attractive football that was comparable to the 1970s Ajax team, and won four consecutive La Liga championships from 1991 to 1994, as well as the 1991–92 European Cup, along with the 1992 UEFA Super Cup, 1989–90 Copa del Rey and 1991 and 1992 Supercopa de España titles. Laudrup was twice named the best player of the year in Spain during his Barcelona years. When Barça hired a fourth foreign star player, Brazilian striker Romário in 1993, it meant the four foreigners would rotate as the three foreign players allowed in each match, and when he was not selected for the 1994 European Cup final 0–4 loss to Milan (amid conflicts with Cruyff), his time at Barcelona was effectively over. After the match, Milan's manager Fabio Capello remarked: \"Laudrup was the guy I feared but Cruyff left him out, and that was his mistake.\"\n\nLaudrup's departure from Barcelona was a huge blow for the fans and his teammates alike. Pep Guardiola was reportedly so upset by the news that he cried and begged Laudrup to change his mind. Reflecting on his time at Barcelona, Laudrup commented, \"I think we played some very good football, and I think most of all we demonstrated that even without getting the ten best players in the world, you can have the best team. Because everybody talked about Begiristain, Bakero, Guardiola, Stoichkov, and Koeman, but when we started none of us was a best player, then we became maybe the best team in the world, together with AC Milan in that period.\"\n\nReal Madrid\nIn 1994, Laudrup completed a controversial move from Barça to Real Madrid after he fell out with Johan Cruyff. On this, Laudrup stated he did not have a hidden agenda. It was the year after the 1994 FIFA World Cup and according to him, because players usually suffer a drop in performance after such a major international tournament, he correctly predicted that Barcelona would not win major trophies the following season.\n\nDespite widespread belief Laudrup joined arch-rivals Real Madrid in an attempt to \"get back\" at Cruyff, the decision was based on the fact Real Madrid had been struggling for a long period and were eager to return to supremacy, like Barcelona when he decided to join them. Laudrup said, \"People say I wanted to go to Real Madrid just to get revenge. I say revenge from what? I've had a perfect time; five fantastic years here [at Barcelona]. I went to Madrid because they were so hungry to win, and they had four or five players who went to the World Cup. I said this would be perfect; new coach, new players, and hungry to win.\" On 5 November 1994, he assisted Raúl's first professional goal in a 4–2 win over Atlético Madrid\n\nLaudrup went on to guide Real Madrid in a championship-winning season that would end the Barça stranglehold, making him the only player ever to win the Spanish league five times in a row playing for two different clubs. After the initial success at Real, a lacklustre season would be in store for the club. Despite only playing two seasons at Real Madrid, he was voted the 12th-best player in Real Madrid history in an internet survey by Spanish newspaper Marca when the club celebrated its 100th anniversary in 2002. While playing with Barcelona, he participated in the 5–0 victory over rivals Real Madrid in the 1993–94 season. The following season while playing for Real Madrid, he aided in the revenge beating Madrid gave Barça, the final score also ending 5–0. Daniel Storey wrote of Laudrup, \"no other player is loved on both sides of the clásico divide quite like Laudrup\" as he remains held in high regard by both Barça and Madrid fans. Following the match, Laudrup's former Barcelona manager Cruyff commented: \"When Michael plays like a dream, a magic illusion, determined to show his new team his extreme abilities, no one in the world comes anywhere near his level.\"\n\nLater career and retirement\nIn 1996, Laudrup left Real Madrid to play for Vissel Kobe in Japan. On 18 August 1996, he played his first match for Vissel Kobe and scored two goals in a 4–2 win against Brummell Sendai. He helped Vissel to promotion from the second-tier Japan Football League to the J1 League. He was registered as a player in Bosnian Premier League club Čelik Zenica in a controversial signing in which he did not play any games for Čelik, but was signed as a player. After the details were resolved, he ended his playing career in a championship winning season at Dutch side Ajax in 1998.\n\nFollowing his retirement, Laudrup sometimes turned out to play for Lyngby's Old Boys team in his spare time.\n\nInternational career\nLaudrup was called up for the Denmark national team during Brøndby's debut season in the top-flight. On his 18th birthday on 15 June 1982, he became the then-second-youngest Danish national team player ever, following Harald Nielsen. Despite playing for relegation battlers Lazio, Laudrup starred for the Denmark national team at UEFA Euro 1984, playing all four of Denmark's matches.\n\nLaudrup participated in the 1986 FIFA World Cup in Mexico, a performance which is best remembered for his exceptional solo dribble and goal in the 6–1 defeat of Uruguay. He was also a part of the disappointing Denmark squad at Euro 1988, though Laudrup experienced personal success, scoring one of Denmark's two goals.\n\nFollowing three matches in the qualification campaign for Euro 1992, Laudrup opted to quit the national team in November 1990 (alongside his brother Brian Laudrup and Jan Mølby) following differences with coach Richard Møller Nielsen. The Danes originally failed to qualify but were later given Yugoslavia's place as Yugoslavia were disqualified due to war in their country. Notwithstanding their qualification, Laudrup rated Denmark's chances of success so low he stayed on holiday. However, Denmark caused one of the biggest upsets in football history by going on to win the tournament, beating holders the Netherlands in the semi-final and, in the final beating reigning world champions and favourites Germany, with a 2–0 win thanks to goals from John Jensen and Kim Vilfort.\n\nLaudrup returned to Nielsen's Danish squad in August 1993, but saw Spain and the Republic of Ireland qualify for the 1994 World Cup ahead of Denmark. He scored a goal in the 2–0 victory against Argentina, as Denmark won the 1995 Intercontinental Cup. He also scored four goals in ten matches as Denmark qualified for Euro 1996.\n\nLaudrup's last matches for Denmark came at the 1998 World Cup, when he captained the nation to the quarter-final. Laudrup made his 100th appearance for Denmark in the team's opening game of the tournament, a 1–0 defeat of Saudi Arabia in Lens. Denmark was defeated 2–3 by Brazil in the quarter-finals, and both Michael and Brian Laudrup announced their international retirement following the elimination. Both brothers ended their international careers on a high note as both Michael and Brian were named in FIFA's All-Star Team.\n\nPlayer profile\n\nStyle of play\n\nA quick, intelligent and talented midfielder, known for his pace on the ball, Laudrup is regarded as one of the most effective and versatile attacking midfielders, as well as one of the most skilful and elegant players in the history of the game. Although primarily an offensive playmaker, he was capable of playing in several positions in or behind the front-line, and was even deployed as a winger, as a central midfielder or deep-lying playmaker, or as a second striker on occasion, in particular in his youth, or even as a forward or striker on rarer instances; he was also used as a centre-forward on occasion under his Barcelona manager Johan Cruyff, a role which was similar to that of the modern false 9 role. Laudrup is considered by many in the sport as one of the best passers of all time, and as one of the most technically accomplished players ever.\n\nRegarding Laudrup's vision and passing ability, his brother Brian stated in 2008: \"My brother started as an attacker but became an elegant attacking midfielder, perhaps the most complete there has ever been. His vision, speed of thought and passing were on a different level; he always knew what was going to happen before anybody else did. If anyone had a 'football brain', it was him.\" Despite being primarily a creative team player, he also possessed an accurate shot, and was capable of scoring goals as well as creating them.\n\nNicknamed \"The Prince of Denmark,\" throughout his career, Laudrup was acclaimed for his technique, balance, elegance, ball control, and dribbling ability, as well as his vision, ability to read the game, and range of passing, including deep passes, through balls, and crosses, which made him an excellent assist provider. In regard to his vision, Jorge Valdano, the Argentinian coach of Laudrup in Real Madrid, said, \"[H]e has eyes everywhere.\" His trademark move – looking one way and passing the other – fooled countless opponents during his career.\n\nThe Laudrup dribble, a signature feint also known as the croqueta, was perhaps the best-known part of his game, and involved him quickly moving the ball from one foot to the other away from the defender, a move which was later also popularised by later Barcelona midfielder Andrés Iniesta. Laudrup's ball skills and feints were combined with creativity, which he used to get past defenders in one on one situations. This led to the expression \"Made in Laudrup\" being coined in the Spanish football media, which was widely used in Spain to describe his trademark assists, in particular his lobbed passes, as well as his unique play. According to a 2018 article by Josh Butler of The Athletic and These Football Times, several of Laudrup's teammates said of his creative style of play: \"Just run, he will always find a way of passing you the ball.\"\n\nReception\nThroughout his career, Laudrup was often ranked among the best players in the world, with the French three-time European footballer of the year award winner Michel Platini describing him as one of the most talented players ever, only lamenting his lack of selfishness causing him to score too few goals. In a 2006 interview, Laudrup's Real Madrid teammate Raúl called him the best player he had ever played with, a view echoed by his Barcelona teammate Romário, who opined that he was able to create and score goals almost at will, and ranked him the fourth-best player in the history of the game (behind Pelé, Diego Maradona and himsel). Luís Figo instead labelled Laudrup as arguably the best opponent he had ever faced. Ronald Koeman rated Laudrup as \"possibly the most skillful and elegant player [he] ever played with,\" adding: \"Few could dribble like he could. He could sense when a game was ready to be seized and transformed by a moment of individual brilliance.\" Roberto Galia stated in 2008: \"I have played against Maradona, Platini and Baggio. But the player I saw do the most indescribable things was Michael Laudrup.\" Former teammate Guillermo Amor said: \"I have never seen a better player in one-on-ones. He was our special player.\"\n\nThierry Henry named Laudrup as the best player he had never played with, saying he did not know any better passer than him and \"the world of football did not give him the credit that guy [Laudrup] deserved.\" John Toshack ranked Laudrup as \"the best player of his generation,\" likening him to Cruyff both as a player and a manager, a view shared by Franz Beckenbauer, who dubbed Laudrup the best player of the 90s. Javier Clemente once stated: \"To me, Michael Laudrup is the most genius player the world has ever seen. He will always be my numero uno. Always.\" José Mari Bakero instead remarked: \"No one has given the club [Barcelona] as much inspiration as Michael. We all look up to him. It is a privilege to have your day enriched by a genius.\" In 2012, Ian Rush described him as \"an incredible player,\" who \"probably had the most individual skill\" he had ever seen. Daniel Storey of Planet Football stated in 2020 that he believed that Laudrup was one of the most underrated players of the previous 30 years, a view shared by Albert Ferrer, who stated in 2009: \"Few people made me enjoy the game as much as Michael. Maybe he didn't get the media recognition he deserved, but he was so classy and a real thinker. A master of the blind pass and impossible through-balls and I will never forget his 'spoon' pass in a game against Osasuna. He lifted the ball right over the defence and Romario touched it in first time.\"\n\nAt Barcelona, Laudrup played alongside Hristo Stoichkov, who scored many goals from Laudrup's passes. Regarding Laudrup's ability to create chances for his teammates, he commented in his 2008 autobiography: \"From more than hundred goals that I scored I'm sure that over 50 were assisted by Michael. To play with him was extremely easy. We found each other by intuition on the field and found common football language. Look at Ivan Zamorano. Laudrup went there (Real) and Zamorano is a goalscorer. Sometimes I envy Ivan for the passes he receives. Passes on foot after you accelerated. Few people understand football like the Danish player. He can only be compared with Maradona, Schuster or Roberto Baggio. They make things easy and find the right solutions. For them [it] is simple, for the opponent – unthinkable. Phenomenal! His only problem is his character. He is emotional and terribly reserved. This affects him a lot, because he takes everything personally – no matter if someone tells him something or decision that he does not agree. His relations with Cruyff were delicate because he couldn't take the critics. I listen to him but I don't care that much. For Michael this was fatal. He couldn't take it anymore so he left without a word.\" That same year, in an interview with FourFourTwo magazine, Stoichkov included Laudrup in his \"Perfect XI,\" and labelled him as: \"One of the best European players I've ever seen,\" and as a player who was \"up there with the greats.\" He went on to describe him as: \"An elegant, old-fashioned playmaker,\" who \"did things few other footballers could do.\" In 2010, he instead said that \"Laudrup was the greatest.\"\n\nAnother striker who benefitted from Laudrup's playmaking abilities was Real Madrid teammate Iván Zamorano, who called Laudrup \"El Genio\" (\"The Genius,\" in Spanish) during Laudrup's time in the Spanish capital. Zamorano was going through a hard spell in Madrid, but when Laudrup arrived to assist his goals, Zamorano immediately became the top goalscorer of La Liga, winning the pichichi trophy; Zamorano himself credited Laudrup for his role in his increased goalscoring output, describing him as a \"genius,\" while also commenting: \"...The reason why I make so many goals is Laudrup.\" He also stated: \"Michael was a magician and one of the greatest players ever. He was amazing in one-on-ones too. I always say that Laudrup had three eyes, not two like everyone else. As a forward, I had to be aware all the time, because he could make you a chance out of nothing and you had to be prepared for that moment.\" Andrés Iniesta, who became known for using Laudrup's signature dribbling move – the croqueta – rated Laudrup as the greatest player of all time.\n\nThroughout his career, his number of assists were almost always the highest of his team. However, despite his talent and reputation as one of the most technically gifted and creative players of his generation, certain players, pundits and managers have questioned Laudrup's work rate, mentality, determination, and consistency throughout his career at times, in particular in his early career. His former Juventus teammate and admirer Michel Platini, for example, once said, \"[Laudrup]'s the greatest player in the world, in training,\" also describing him as \"one of the biggest talents ever,\" while also lamenting that he \"never used his talent to its fullest during matches.\" His former Barcelona manager Johan Cruyff described him as \"One of the most difficult players [he had] worked with,\" adding: \"When he gives 80–90% he is still by far the best, but I want 100%, and he rarely does that.\" In 1998, he stated: \"Had Michael been born in a poor ghetto in Brazil or Argentina with the ball being his only way out of poverty he would today be recognised as the biggest genius of the game ever. He had all the abilities to reach it but lacked this ghetto-instinct, which could have driven him there.\" At Swansea in 2012, Alan Tate commented: \"He is still the best player in training at [age] 48 years.\" This was echoed by Swansea player Danny Graham: \"Laudrup was the best player in training by a mile. It was unreal.\" In addition to his playing ability, Laudrup was known for his good conduct on the pitch and he never received a red card in his career.\n\nManagerial career\n\nEarly years\nAfter his playing career ended with Ajax, Laudrup became a coach at age 36 when he started serving as an assistant coach for the Denmark national team head coach Morten Olsen in 2000. The national team would play a 4–2–3–1 formation, depending on two fast wingers and with the aim to dominate games with a short-passing possession game. Together, they led Denmark to the knock-out stage of the 2002 World Cup.\n\nBrøndby\nAfter his success as Denmark assistant manager, Laudrup signed on as manager for Danish Superliga club Brøndby. As his assistant coach, he paired up with former Danish championship winning manager John Jensen, who had played alongside him in the Denmark national team. At the start of his reign, he proclaimed a tactical scheme close to that which Olsen and he had coached at the national team. He renovated the Brøndby team by letting a large contingent of older and experienced players leave, in favour of several new offensive players, and he also gave the chance to young talents from the club's youth scheme.\n\nTo ensure the defensive strength of the team, Laudrup signed proven national team player Morten Wieghorst. He began his reign as Brøndby manager by winning his first trophy in his managerial career, the 2002 Danish Supercup. In his first season as head coach, he guided the team to win the Danish Cup, after Brøndby beat Midtjylland 3–0 in the final and runners-up in the Danish Superliga. Laudrup's success led him to being voted and awarded the Danish Manager of the Year.\n\nIn the following season, he again finished the season runners-up to first place Copenhagen by just one point. However, he would not be denied in the 2004–05 season, where he finally led the team to the Danish Superliga title. In the same season, he also completed The Double after he won his second Danish Cup in four seasons. This saw him being given his second Danish Manager of the Year award. After finishing runners-up in the 2005–06 Danish Superliga, Laudrup announced that he, along with assistant Faxe Jensen, could not come to an agreement for a one-year contract extension that was offered by the club. The pair, after winning four trophies in four seasons, subsequently left Brøndby in June 2006.\n\nLaudrup was associated with several new jobs, including becoming manager of former club Real Madrid and that he would replace Lars Lagerbäck as head coach of the Sweden national team.\n\nIn 2007, Brøndby decided to name a new lounge at the stadium \"The Michael Laudrup Lounge\", with Laudrup's approval. His success led him to being voted and awarded the Danish Manager of the Year.\n\nGetafe\nOn 21 June 2007, Laudrup was linked to a move to Madrid-based La Liga club Getafe by sports newspaper Marca. This was confirmed on 9 July 2007. During his stay in Getafe, the club reached the final of the Copa del Rey, losing to Valencia, and the quarter-finals of the UEFA Cup, losing in extra time to Bayern Munich. During his tenure as successor to Bernd Schuster, he brought in a new brand of exciting and free-flowing attacking football to the club, bringing back memories of Laudrup as a player. His team, which was not one of the established powers in Spanish football, enjoyed comparative success. However, he performed only one season as manager, resigning in May 2008.\n\nAfter Laudrup announced his departure from Getafe, he was linked with jobs at Barcelona, Valencia, Benfica, Chelsea, Blackburn Rovers, Panathinaikos, CSKA Moscow and West Ham United. He almost got the job at Panathinaikos, but according to Danish media, he wanted an option to allow him to leave if he received an offer from a Spanish club. This request was not accepted by the Greeks, who chose to hire Henk ten Cate instead.\n\nSpartak Moscow\nOn 12 September 2008, it was officially announced that Laudrup had signed a one-and-a-half-year contract to manage Spartak Moscow, replacing Stanislav Cherchesov following his dismissal after a string of poor results. However, Laudrup started on a poor note, winning just one of his first four league matches. He was subsequently sacked on 15 April 2009, just seven months on the job, in the wake of Spartak's quarter-final 3–0 loss to Dynamo Moscow in the Russian Cup. The official statement from Spartak read, \"From this point onwards, head coach Michael Laudrup has been relieved of his responsibilities because of unsatisfactory results.\"\n\nOn 22 October 2009, Spanish media announced Laudrup would be appointed as new manager of Spanish side Atlético Madrid, replacing the short and unsuccessful run of Abel Resino, following Atlético's 4–0 UEFA Champions League group stage defeat to Chelsea. However, Laudrup and Atlético were not able to agree on terms and the deal fell apart. The day after, on 23 October, Resino was sacked and Quique Sánchez Flores was appointed as coach as the side's second-choice.\n\nMallorca\nIn July 2010, Laudrup was appointed manager of Mallorca on a contract lasting until the end of June 2012. In his first season, he kept the struggling Mallorca side from relegation, which was suffering from losing many first team players and who was ejected from the UEFA Europa League due to its poor financial situation. At the beginning of the 2011–12 season, on 27 September 2011, Laudrup resigned as manager following the firing of his assistant, Erik Larsen. Laudrup cited great frustration with Lorenzo Serra Ferrer, the club's director of football, leading to a bad work climate as the main reason for his resignation.\n\nSwansea City\nOn 15 June 2012, Laudrup was appointed manager of Swansea City on a two-year contract, becoming the first Dane to manage in the Premier League. He made several new signings after arriving at Liberty Stadium, including Michu, Chico Flores, Pablo Hernández, Jonathan de Guzmán and Ki Sung-yueng. His first competitive match as Swansea manager came as an impressive 0–5 away win at Loftus Road against Queens Park Rangers.\n\nAt Swansea, Alan Tate said that Laudrup was considered to be the best player in training, despite being 48 years old. He has been commended for his choice of signings, most notably with Michu, who scored 22 goals in 2012 for Swansea after he signed him for a bargain €2.5 million from Rayo Vallecano. On 23 January 2013, he led Swansea into their first ever major cup final after defeating reigning European champions Chelsea 2–0 on aggregate over two legs in the League Cup semi-finals.\n\nOn 7 February 2013, Laudrup appointed former Danish international midfielder Morten Wieghorst as his assistant after previously signing him as a player when Laudrup was managing Brøndby. Laudrup would later say he \"certainly\" believes Wieghorst \"can be manager\" of Swansea, as \"he has experience from Scottish football and is familiar with English football\". On 24 February, Laudrup said he had no \"ambition to become the manager\" of a big club, because he could not \"have done everything for 10 years\" in management and then be fired \"after nine months\" for not winning any trophies. He also said it gave him \"much more pleasure to see how well\" he could do where he did not \"have to win all the time\".\n\nOn 24 February 2013, Laudrup won his first trophy with Swansea after his side beat Bradford City 5–0 to win the Football League Cup at Wembley. This was also Swansea's first major trophy in English football in the club's history.\n\nFollowing Swansea's 1–0 win over Newcastle United on 2 March 2013 the club moved into eighth position in the top-half of the Premier League table, seemingly safe from relegation with 40 points and ten games left; Laudrup said he wanted Swansea to finish eighth, stating that \"coming eighth [will be] like winning the league\" for the club because he felt \"the first seven spots\" were already taken by Manchester United, Manchester City, Chelsea, Tottenham Hotspur, Arsenal, Liverpool and Everton. On 3 March, though he had said that his \"intention\" was \"to stay\" in south Wales for the next year, Swansea chairman Huw Jenkins said that the club were in the \"process of looking for the next manager\" of the club in case Laudrup did choose to leave the club.\n\nOn 8 March 2013, Laudrup signed a new contract with Swansea, keeping him at the club until 2015. Reports indicated that he agreed to a contract with a release clause in the region of £5 million, much like the release clause Brendan Rodgers agreed to when he signed a contract extension at the Liberty Stadium four months prior to joining Liverpool. On 10 May, however, he confirmed that his \"intention\" was to stay at Swansea \"next season,\" saying that reports he wanted to leave Wales was \"pure speculation.\"\n\nOn 4 February 2014, Laudrup was sacked by Swansea following a poor run of form which left the club two points clear of relegation. At the time of the decision, the team had lost six out of their last eight league games.\n\nLekhwiya\nOn 30 June 2014, Laudrup became the new manager of Qatar Stars League champions Lekhwiya after signing a one-year deal. He guided the Lekhwiya to a club-record Qatar Stars League and a Crown Prince Cup double in his first season. The club also qualified for the quarter-finals of the 2015 AFC Champions League during his reign. On 17 June 2015, Laudrup announced that he would not extend his contract, departing the club.\n\nAl Rayyan\nOn 3 October 2016, Laudrup was unveiled as the new manager of Al Rayyan on a two-year contract, replacing Jorge Fossati. His first match in charge was on 15 October 2016, when Al Rayyan faced Al Sailiya in an away match in the league, with the match ending in a 1–1 draw.\n\nStyle of management and tactics\n\nAs assistant manager to Morten Olsen, the Denmark national team employed a 4–2–3–1 system with pacey wingers playing the pivotal role in attack. Laudrup learnt from Olsen and used the same tactical style with Brøndby, with the team becoming more attacking and focused on a short passing style. He continued to employ a similar tactical style when he joined Getafe, ushering a new brand of exciting and free-flowing attacking football to help the club to the Copa del Rey final. However, at Spartak Moscow, he could not adapt his formation and tactics to the Russian game, with the club unable to score enough goals per match.\n\nAs Mallorca manager, Laudrup inspired a team that lost a number of key players from relegation by playing an offensive game. In 2012, he joined Swansea City as manager, replacing Brendan Rodgers. Under Rodgers, Swansea were known to play a 4–3–3 approach with a lot of focus on passing, where the full-backs pushed up when in possession and the outfield players played a high tempo pressing game. Under Laudrup, the team began employing a 4–2–3–1 formation, becoming more attacking while retaining the passing and pressing game. He also signed a number of new players, primarily from La Liga, trying to bring the attacking style from Spain to Wales, which saw more goals scored. He said, \"You can get a lot of quality for a reasonable amount in Spain right now.\"\n\nLaudrup earned plaudits for maintaining their flowing, attacking brand of football and attractive, passing style of play throughout the season, which saw his side win the League Cup, after beating Bradford City a record 5–0 in the final. \"You can't ask players to do things that Cristiano Ronaldo and Lionel Messi are doing, but you can ask the easy things,\" he said. \"Sometimes the easiest things in football, a simple pass five or eight yards, can be the most effective. That, everybody can learn.\"\n\nOutside of football\n\nPersonal life\nMichael Laudrup is part of a family with three generations of footballers. His uncle was former Brøndby and Aberdeen manager Ebbe Skovdahl. He is the son of former Danish national team player Finn Laudrup. From his marriage with his first wife, Tina Thunø, Laudrup has a son, Mads. Mads has been the team captain of various Danish youth national teams since January 2005. Today, he is married with Siw Retz Laudrup, with whom he has two children, Andreas and Rebecca. Andreas was selected a part of the under-16 national team in March 2006.\n\nMichael Laudrup has a younger brother, Brian Laudrup, who was also a footballer. Brian Laudrup is the record holder of Danish player of the year awards with four, and was rated by FIFA as the fifth-best player in the world in 1992. Brian Laudrup was in the Euro 92 Team of the Tournament and World Cup 98 Team of the Tournament. Brian was also known for his part in the Rangers squad which won nine consecutive titles in the 1990s. Brian was a part of the trophy-winning Danish national team at UEFA Euro 1992, but Michael did not play in that championship due to differences with the national team coach Richard Møller Nielsen and because he thought that the barring of Yugoslavia for political, rather than football, reasons was not just. In 2004, both the Laudrup brothers were named in the FIFA 100, a list of the 125 greatest living footballers chosen by Pelé as part of the celebration of FIFA's 100th anniversary.\n\nPolitics and business\nAlongside his professional football career, Laudrup began importing Spanish wine to Denmark starting in 1993. Initially, the wine import was sort of a hobby, but business grew rapidly and today his company Laudrup Vin og Gastronomi has over ten employees, runs a Wine Academy and imports wines from all over the world.\n\nIn 2004, Michael Laudrup was one of the founders of CEPOS, a Danish classical liberal/free-market conservative think-tank.\n\nCareer statistics\n\nClub\n\nInternational\n\nScores and results list Denmark's goal tally first, score column indicates score after each Laudrup goal.\n\nManagerial statistics\n\nHonours\n\nPlayer\nJuventus\nSerie A: 1985–86\nIntercontinental Cup: 1985\n\nBarcelona\nLa Liga: 1990–91, 1991–92, 1992–93, 1993–94\nCopa del Rey: 1989–90\nSupercopa de España: 1991, 1992\nEuropean Cup: 1991–92\nUEFA Super Cup: 1992\n\nReal Madrid\nLa Liga: 1994–95\n\nAjax\nEredivisie: 1997–98\nKNVB Cup: 1997–98\n\nDenmark\nFIFA Confederations Cup: 1995\n\nIndividual\nDanish Player of the Year (2): 1982, 1985\nDon Balón Award – La Liga Best Foreign Player of the Year: 1991–92\nESM Team of the Year: 1994–95\nFIFA XI (Reserve): 1996\nFIFA World Cup All-Star Team: 1998\nBest Foreign Player in Spanish Football in the last 25 years: 1974–1999\nUEFA Golden Player (Greatest Danish Footballer of the last 50 Years): 2003\nFIFA 100\nDenmark's Best Player of All Time: 2006\nScandinavia Best Player Ever: 2015\nDanish Football Hall of Fame\nWorld Soccer The Greatest Players of the 20th century: The 100 Greatest Footballers of All Time\n\nManager\nBrøndby\nDanish Superliga: 2004–05\nDanish Cup: 2002–03, 2004–05\nDanish League Cup: 2005\nDanish Supercup: 2002\n\nSwansea City\nFootball League Cup: 2012–13\n\nLekhwiya\nQatar Stars League: 2014–15\nCrown Prince Cup: 2014–15\n\nIndividual\nDanish Manager of the Year: 2002–03, 2004–05\nQatar Stars League Manager of the Month: August 2014, December 2014\n\nOrders\nOrder of the Dannebrog: 2000\n\nFilms\n Jørgen Leth, \"Michael Laudrup – en fodboldspiller\", Denmark, 1993\n\nReferences\n\nSources\n\nFurther reading\n Bruno Bernardi, \"Michael Laudrup\", Italy, 1986\n Flemming Nielsen and Vagn Nielsen, \"Fodboldkunstneren Michael Laudrup : rundt om en stjerne\", Denmark, 1986\n Michael Laudrup, \"Mod nye mål\", Denmark, 1989,\n\nExternal links\n\n \n \n \n \n \n \n \n \n \n\n1964 births\nLiving people\nSportspeople from Frederiksberg\nDanish footballers\nAssociation football midfielders\nAssociation football forwards\nKjøbenhavns Boldklub players\nBrøndby IF players\nJuventus F.C. players\nS.S. Lazio players\nFC Barcelona players\nReal Madrid CF players\nVissel Kobe players\nAFC Ajax players\nDanish 1st Division players\nSerie A players\nLa Liga players\nJ1 League players\nJapan Football League (1992–1998) players\nEredivisie players\nUEFA Champions League winning players\nDenmark youth international footballers\nDenmark under-21 international footballers\nDenmark international footballers\nUEFA Euro 1984 players\n1986 FIFA World Cup players\nUEFA Euro 1988 players\n1995 King Fahd Cup players\nUEFA Euro 1996 players\n1998 FIFA World Cup players\nFIFA Confederations Cup-winning players\nFIFA 100\nFIFA Century Club\nUEFA Golden Players\nDanish expatriate footballers\nDanish expatriate sportspeople in Italy\nDanish expatriate sportspeople in Spain\nDanish expatriate sportspeople in Japan\nDanish expatriate sportspeople in the Netherlands\nExpatriate footballers in Italy\nExpatriate footballers in Spain\nExpatriate footballers in Japan\nExpatriate footballers in the Netherlands\nDanish football managers\nBrøndby IF managers\nGetafe CF managers\nRCD Mallorca managers\nFC Spartak Moscow managers\nSwansea City A.F.C. managers\nLekhwiya SC managers\nAl-Rayyan SC managers\nDanish Superliga managers\nLa Liga managers\nRussian Premier League managers\nPremier League managers\nQatar Stars League managers\nDanish expatriate football managers\nDanish expatriate sportspeople in Russia\nDanish expatriate sportspeople in Wales\nDanish expatriate sportspeople in Qatar\nExpatriate football managers in Spain\nExpatriate football managers in Russia\nExpatriate football managers in Wales\nExpatriate football managers in Qatar\nDanish knights"
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[
"Michael Laudrup",
"Early career",
"What did Michael Laudrup accomplish?",
"contributing to the promotion of Brondby to the 1st Division."
]
| C_907acbafa04846529c2980d19bfbb694_1 | When was Michael born? | 2 | When was Michael Laudrup born? | Michael Laudrup | Laudrup made his senior debut in 1981, and made his debut for the Danish under-19 national team in February 1981. In all, he scored a combined total of 14 goals in 25 games at various youth levels. He went back to play for Brondby in 1982, where his father had ended his career in 1981, contributing to the promotion of Brondby to the 1st Division. At Brondby, Laudrup scored two goals in the club's 1st Division debut game, as fellow promoted team Boldklubben 1909 were beaten 7-1. He scored 15 league goals in 1982, and ended the season as the third top goal scorer of the 1st Division. His accomplishments earned him the 1982 Danish Player of the Year award. He played part of the 1983 season for Brondby, and scored nine goals, before he was sold to defending Serie A champions Juventus from Italy in June 1983. It was the biggest transfer deal in Danish football at the time, worth around $1 million. He was due to sign for Liverpool the same year on a three-year contract, but at the last minute, Liverpool proposed a four-year contract and Laudrup opted not to sign. Under restriction of a maximum of two foreign players in the team, of which the club had Polish midfielder Zbigniew Boniek and Michel Platini, Juventus initially lent Laudrup to newly promoted Rome club Lazio for a single season, something he had not been informed about before signing for Juventus. With Lazio, he scored two goals in his Serie A debut, a 2-4 loss to Hellas Verona. In his first year at Lazio, Lazio narrowly avoided relegation, but as Juventus wanted to keep Boniek and Platini, he stayed for another year. Lazio started the 1984-85 season poorly, eventually finishing in last place to become relegated to Serie B. Laudrup scored just one goal that season. Laudrup returned to Juventus in summer 1985 to replace Zbigniew Boniek, playing alongside Michel Platini. In his first year at the club, he won the 1985-86 Serie A as well as the Intercontinental Cup trophy, scoring the equalising goal in the final of the latter tournament, although he later missed a penalty in the resulting shoot-out; he was once again named Danish Player of the Year in 1985. However, the following season was no success for Laudrup, who suffered multiple injuries, much like the majority of Juventus players, including Platini. When Platini retired in 1987, Laudrup was expected to lead the team in his place, playing alongside newly bought Welsh forward Ian Rush. But Laudrup failed to live up to Platini's standards and did not score any goals, despite playing all 30 matches of the 1987-88 season. CANNOTANSWER | CANNOTANSWER | Michael Laudrup (, born 15 June 1964) is a Danish professional football coach and former player. He is the older brother of fellow retired footballer Brian Laudrup. He is widely regarded as one of the greatest players of all time.
During his playing career, Laudrup won league titles with Ajax, Barcelona, Real Madrid and Juventus, playing mainly as an attacking midfielder, although he was also capable of playing in other offensive positions. A world class playmaker, he was a member of Johan Cruyff's "Dream Team" at Barcelona, where he won nine trophies, including four successive La Liga titles from 1991 to 1994 and the European Cup in 1992. Laudrup moved to arch-rivals Real Madrid in 1994, with whom he won his fifth La Liga title in a row.
Laudrup made his debut for the Denmark national team on his 18th birthday in 1982, and scored 37 goals in 104 appearances. He starred in the 1986 FIFA World Cup, and from November 1994, he captained Denmark for a total of 28 matches, including the victorious 1995 Confederations Cup tournament. He played alongside his brother Brian in the Denmark team that reached the quarter-finals of the 1998 World Cup, and retired as an active player after the tournament.
In 1999, Laudrup was voted the Best Foreign Player in Spanish Football over the preceding 25-year period and in April 2000 he was knighted, receiving the Order of the Dannebrog. In November 2003, to celebrate UEFA's Jubilee, he was selected as the Golden Player of Denmark by the Danish Football Union, their most outstanding player of the past 50 years. He was officially named the best Danish footballer of all time by the Danish Football Union (DBU) in November 2006. He was named by Pelé in the FIFA 100 list of the world's greatest living players at a FIFA awards ceremony in 2004. In April 2013, he was named by Marca readers in the "Best foreign eleven in Real Madrid's history".
On 16 October 2021, at a show celebrating the National Olympic Committee and Sports Confederation of Denmark's 125th anniversary, 125 candidates for the title of the greatest ever Danish sports star had been reduced to eight, and Laudrup was named the winner.
After retiring as a player, Laudrup took up coaching, and became assistant manager of the Denmark national team. He got his first manager job at former club Brøndby in 2002, whom he guided to the 2005 Danish Superliga championship. He chose not to extend his contract with Brøndby in May 2006. He took over as coach of Getafe and had notable success there. He brought the club comparative success in the Copa del Rey and UEFA Cup, and the team's attacking style received plaudits. On 15 June 2012, Laudrup was appointed the manager of Premier League club Swansea City on a two-year contract. In his first season in south Wales, he won the League Cup, the first major English trophy in Swansea's 100-year history. On 4 February 2014, he was sacked by Swansea after a "significant" slump in the Premier League, leaving them two points above the relegation zone. Laudrup then managed Qatari clubs Lekhwiya and Al Rayyan between 2014 and 2018.
Club career
Born in Frederiksberg, Copenhagen, Michael Laudrup began playing football in father Finn Laudrup's childhood club Vanløse. When Finn Laudrup became player/coach of Brøndby IF in 1973, the family moved to Brøndby and both Michael and his brother Brian Laudrup started playing for the club as well. Michael followed his father to the top-flight Danish 1st Division club Københavns Boldklub in 1976, while Brian remained at Brøndby.
Early career
Laudrup made his senior debut playing for KB (Kjøbenhavns Boldklub) in 1981, and made his debut for the Danish under-19 national team in February 1981. In all, he scored a combined total of 14 goals in 25 games at various youth levels. He went back to play for Brøndby in 1982, where his father had ended his career in 1981, contributing to the promotion of Brøndby to the 1st Division.
At Brøndby, Laudrup scored two goals in the club's 1st Division debut game, as fellow promoted team Boldklubben 1909 were beaten 7–1. He scored 15 league goals in 1982, and ended the season as the third top goal scorer of the 1st Division. His accomplishments earned him the 1982 Danish Player of the Year award. He played part of the 1983 season for Brøndby, and scored nine goals, before he was sold to defending Serie A champions Juventus from Italy in June 1983. It was the biggest transfer deal in Danish football at the time, worth around $1 million. He was due to sign for Liverpool the same year on a three-year contract, but at the last minute, Liverpool proposed a four-year contract and Laudrup opted not to sign.
Under restriction of a maximum of two foreign players in the team, of which the club had Polish midfielder Zbigniew Boniek and Michel Platini, Juventus initially lent Laudrup to newly promoted Rome club Lazio for a single season, something he had not been informed about before signing for Juventus. With Lazio, he scored two goals in his Serie A debut, a 2–4 loss to Hellas Verona. In his first year at Lazio, Lazio narrowly avoided relegation, but as Juventus wanted to keep Boniek and Platini, he stayed for another year. Lazio started the 1984–85 season poorly, eventually finishing in last place to become relegated to Serie B. Laudrup scored just one goal that season.
Laudrup returned to Juventus in summer 1985 to replace Zbigniew Boniek, playing alongside Michel Platini. In his first year at the club, he won the 1985–86 Serie A as well as the Intercontinental Cup trophy, scoring the equalising goal in the final of the latter tournament, although he later missed a penalty in the resulting shoot-out; he was once again named Danish Player of the Year in 1985. However, the following season was not a success for Laudrup, who suffered multiple injuries. When Platini retired in 1987, Laudrup was expected to lead the team in his place, playing alongside newly bought Welsh forward Ian Rush. But Laudrup failed to live up to Platini's standards and did not score any goals, despite playing all 30 matches of the 1987–88 season.
Barcelona
After an unsuccessful season with Juventus, Laudrup decided it was time to leave, looking for a new experience after six years in Italy. In 1989, he joined Spanish club Barcelona on the premise that Netherlands coach Johan Cruyff, his childhood role model, had been assembling a team that was striving for success. Immediately, Laudrup enjoyed major success under Cruyff's leadership, citing the Dutchman's philosophy and perception of the game as one of the main assets that helped foster his talent. He was one of the restricted three foreign players allowed in the team, alongside Dutch defender Ronald Koeman and Bulgarian striker Hristo Stoichkov, who were the pillars of the Barça "Dream Team", along with rising stars Pep Guardiola, José Mari Bakero, and Txiki Begiristain.
The Dream Team played attractive football that was comparable to the 1970s Ajax team, and won four consecutive La Liga championships from 1991 to 1994, as well as the 1991–92 European Cup, along with the 1992 UEFA Super Cup, 1989–90 Copa del Rey and 1991 and 1992 Supercopa de España titles. Laudrup was twice named the best player of the year in Spain during his Barcelona years. When Barça hired a fourth foreign star player, Brazilian striker Romário in 1993, it meant the four foreigners would rotate as the three foreign players allowed in each match, and when he was not selected for the 1994 European Cup final 0–4 loss to Milan (amid conflicts with Cruyff), his time at Barcelona was effectively over. After the match, Milan's manager Fabio Capello remarked: "Laudrup was the guy I feared but Cruyff left him out, and that was his mistake."
Laudrup's departure from Barcelona was a huge blow for the fans and his teammates alike. Pep Guardiola was reportedly so upset by the news that he cried and begged Laudrup to change his mind. Reflecting on his time at Barcelona, Laudrup commented, "I think we played some very good football, and I think most of all we demonstrated that even without getting the ten best players in the world, you can have the best team. Because everybody talked about Begiristain, Bakero, Guardiola, Stoichkov, and Koeman, but when we started none of us was a best player, then we became maybe the best team in the world, together with AC Milan in that period."
Real Madrid
In 1994, Laudrup completed a controversial move from Barça to Real Madrid after he fell out with Johan Cruyff. On this, Laudrup stated he did not have a hidden agenda. It was the year after the 1994 FIFA World Cup and according to him, because players usually suffer a drop in performance after such a major international tournament, he correctly predicted that Barcelona would not win major trophies the following season.
Despite widespread belief Laudrup joined arch-rivals Real Madrid in an attempt to "get back" at Cruyff, the decision was based on the fact Real Madrid had been struggling for a long period and were eager to return to supremacy, like Barcelona when he decided to join them. Laudrup said, "People say I wanted to go to Real Madrid just to get revenge. I say revenge from what? I've had a perfect time; five fantastic years here [at Barcelona]. I went to Madrid because they were so hungry to win, and they had four or five players who went to the World Cup. I said this would be perfect; new coach, new players, and hungry to win." On 5 November 1994, he assisted Raúl's first professional goal in a 4–2 win over Atlético Madrid
Laudrup went on to guide Real Madrid in a championship-winning season that would end the Barça stranglehold, making him the only player ever to win the Spanish league five times in a row playing for two different clubs. After the initial success at Real, a lacklustre season would be in store for the club. Despite only playing two seasons at Real Madrid, he was voted the 12th-best player in Real Madrid history in an internet survey by Spanish newspaper Marca when the club celebrated its 100th anniversary in 2002. While playing with Barcelona, he participated in the 5–0 victory over rivals Real Madrid in the 1993–94 season. The following season while playing for Real Madrid, he aided in the revenge beating Madrid gave Barça, the final score also ending 5–0. Daniel Storey wrote of Laudrup, "no other player is loved on both sides of the clásico divide quite like Laudrup" as he remains held in high regard by both Barça and Madrid fans. Following the match, Laudrup's former Barcelona manager Cruyff commented: "When Michael plays like a dream, a magic illusion, determined to show his new team his extreme abilities, no one in the world comes anywhere near his level."
Later career and retirement
In 1996, Laudrup left Real Madrid to play for Vissel Kobe in Japan. On 18 August 1996, he played his first match for Vissel Kobe and scored two goals in a 4–2 win against Brummell Sendai. He helped Vissel to promotion from the second-tier Japan Football League to the J1 League. He was registered as a player in Bosnian Premier League club Čelik Zenica in a controversial signing in which he did not play any games for Čelik, but was signed as a player. After the details were resolved, he ended his playing career in a championship winning season at Dutch side Ajax in 1998.
Following his retirement, Laudrup sometimes turned out to play for Lyngby's Old Boys team in his spare time.
International career
Laudrup was called up for the Denmark national team during Brøndby's debut season in the top-flight. On his 18th birthday on 15 June 1982, he became the then-second-youngest Danish national team player ever, following Harald Nielsen. Despite playing for relegation battlers Lazio, Laudrup starred for the Denmark national team at UEFA Euro 1984, playing all four of Denmark's matches.
Laudrup participated in the 1986 FIFA World Cup in Mexico, a performance which is best remembered for his exceptional solo dribble and goal in the 6–1 defeat of Uruguay. He was also a part of the disappointing Denmark squad at Euro 1988, though Laudrup experienced personal success, scoring one of Denmark's two goals.
Following three matches in the qualification campaign for Euro 1992, Laudrup opted to quit the national team in November 1990 (alongside his brother Brian Laudrup and Jan Mølby) following differences with coach Richard Møller Nielsen. The Danes originally failed to qualify but were later given Yugoslavia's place as Yugoslavia were disqualified due to war in their country. Notwithstanding their qualification, Laudrup rated Denmark's chances of success so low he stayed on holiday. However, Denmark caused one of the biggest upsets in football history by going on to win the tournament, beating holders the Netherlands in the semi-final and, in the final beating reigning world champions and favourites Germany, with a 2–0 win thanks to goals from John Jensen and Kim Vilfort.
Laudrup returned to Nielsen's Danish squad in August 1993, but saw Spain and the Republic of Ireland qualify for the 1994 World Cup ahead of Denmark. He scored a goal in the 2–0 victory against Argentina, as Denmark won the 1995 Intercontinental Cup. He also scored four goals in ten matches as Denmark qualified for Euro 1996.
Laudrup's last matches for Denmark came at the 1998 World Cup, when he captained the nation to the quarter-final. Laudrup made his 100th appearance for Denmark in the team's opening game of the tournament, a 1–0 defeat of Saudi Arabia in Lens. Denmark was defeated 2–3 by Brazil in the quarter-finals, and both Michael and Brian Laudrup announced their international retirement following the elimination. Both brothers ended their international careers on a high note as both Michael and Brian were named in FIFA's All-Star Team.
Player profile
Style of play
A quick, intelligent and talented midfielder, known for his pace on the ball, Laudrup is regarded as one of the most effective and versatile attacking midfielders, as well as one of the most skilful and elegant players in the history of the game. Although primarily an offensive playmaker, he was capable of playing in several positions in or behind the front-line, and was even deployed as a winger, as a central midfielder or deep-lying playmaker, or as a second striker on occasion, in particular in his youth, or even as a forward or striker on rarer instances; he was also used as a centre-forward on occasion under his Barcelona manager Johan Cruyff, a role which was similar to that of the modern false 9 role. Laudrup is considered by many in the sport as one of the best passers of all time, and as one of the most technically accomplished players ever.
Regarding Laudrup's vision and passing ability, his brother Brian stated in 2008: "My brother started as an attacker but became an elegant attacking midfielder, perhaps the most complete there has ever been. His vision, speed of thought and passing were on a different level; he always knew what was going to happen before anybody else did. If anyone had a 'football brain', it was him." Despite being primarily a creative team player, he also possessed an accurate shot, and was capable of scoring goals as well as creating them.
Nicknamed "The Prince of Denmark," throughout his career, Laudrup was acclaimed for his technique, balance, elegance, ball control, and dribbling ability, as well as his vision, ability to read the game, and range of passing, including deep passes, through balls, and crosses, which made him an excellent assist provider. In regard to his vision, Jorge Valdano, the Argentinian coach of Laudrup in Real Madrid, said, "[H]e has eyes everywhere." His trademark move – looking one way and passing the other – fooled countless opponents during his career.
The Laudrup dribble, a signature feint also known as the croqueta, was perhaps the best-known part of his game, and involved him quickly moving the ball from one foot to the other away from the defender, a move which was later also popularised by later Barcelona midfielder Andrés Iniesta. Laudrup's ball skills and feints were combined with creativity, which he used to get past defenders in one on one situations. This led to the expression "Made in Laudrup" being coined in the Spanish football media, which was widely used in Spain to describe his trademark assists, in particular his lobbed passes, as well as his unique play. According to a 2018 article by Josh Butler of The Athletic and These Football Times, several of Laudrup's teammates said of his creative style of play: "Just run, he will always find a way of passing you the ball."
Reception
Throughout his career, Laudrup was often ranked among the best players in the world, with the French three-time European footballer of the year award winner Michel Platini describing him as one of the most talented players ever, only lamenting his lack of selfishness causing him to score too few goals. In a 2006 interview, Laudrup's Real Madrid teammate Raúl called him the best player he had ever played with, a view echoed by his Barcelona teammate Romário, who opined that he was able to create and score goals almost at will, and ranked him the fourth-best player in the history of the game (behind Pelé, Diego Maradona and himsel). Luís Figo instead labelled Laudrup as arguably the best opponent he had ever faced. Ronald Koeman rated Laudrup as "possibly the most skillful and elegant player [he] ever played with," adding: "Few could dribble like he could. He could sense when a game was ready to be seized and transformed by a moment of individual brilliance." Roberto Galia stated in 2008: "I have played against Maradona, Platini and Baggio. But the player I saw do the most indescribable things was Michael Laudrup." Former teammate Guillermo Amor said: "I have never seen a better player in one-on-ones. He was our special player."
Thierry Henry named Laudrup as the best player he had never played with, saying he did not know any better passer than him and "the world of football did not give him the credit that guy [Laudrup] deserved." John Toshack ranked Laudrup as "the best player of his generation," likening him to Cruyff both as a player and a manager, a view shared by Franz Beckenbauer, who dubbed Laudrup the best player of the 90s. Javier Clemente once stated: "To me, Michael Laudrup is the most genius player the world has ever seen. He will always be my numero uno. Always." José Mari Bakero instead remarked: "No one has given the club [Barcelona] as much inspiration as Michael. We all look up to him. It is a privilege to have your day enriched by a genius." In 2012, Ian Rush described him as "an incredible player," who "probably had the most individual skill" he had ever seen. Daniel Storey of Planet Football stated in 2020 that he believed that Laudrup was one of the most underrated players of the previous 30 years, a view shared by Albert Ferrer, who stated in 2009: "Few people made me enjoy the game as much as Michael. Maybe he didn't get the media recognition he deserved, but he was so classy and a real thinker. A master of the blind pass and impossible through-balls and I will never forget his 'spoon' pass in a game against Osasuna. He lifted the ball right over the defence and Romario touched it in first time."
At Barcelona, Laudrup played alongside Hristo Stoichkov, who scored many goals from Laudrup's passes. Regarding Laudrup's ability to create chances for his teammates, he commented in his 2008 autobiography: "From more than hundred goals that I scored I'm sure that over 50 were assisted by Michael. To play with him was extremely easy. We found each other by intuition on the field and found common football language. Look at Ivan Zamorano. Laudrup went there (Real) and Zamorano is a goalscorer. Sometimes I envy Ivan for the passes he receives. Passes on foot after you accelerated. Few people understand football like the Danish player. He can only be compared with Maradona, Schuster or Roberto Baggio. They make things easy and find the right solutions. For them [it] is simple, for the opponent – unthinkable. Phenomenal! His only problem is his character. He is emotional and terribly reserved. This affects him a lot, because he takes everything personally – no matter if someone tells him something or decision that he does not agree. His relations with Cruyff were delicate because he couldn't take the critics. I listen to him but I don't care that much. For Michael this was fatal. He couldn't take it anymore so he left without a word." That same year, in an interview with FourFourTwo magazine, Stoichkov included Laudrup in his "Perfect XI," and labelled him as: "One of the best European players I've ever seen," and as a player who was "up there with the greats." He went on to describe him as: "An elegant, old-fashioned playmaker," who "did things few other footballers could do." In 2010, he instead said that "Laudrup was the greatest."
Another striker who benefitted from Laudrup's playmaking abilities was Real Madrid teammate Iván Zamorano, who called Laudrup "El Genio" ("The Genius," in Spanish) during Laudrup's time in the Spanish capital. Zamorano was going through a hard spell in Madrid, but when Laudrup arrived to assist his goals, Zamorano immediately became the top goalscorer of La Liga, winning the pichichi trophy; Zamorano himself credited Laudrup for his role in his increased goalscoring output, describing him as a "genius," while also commenting: "...The reason why I make so many goals is Laudrup." He also stated: "Michael was a magician and one of the greatest players ever. He was amazing in one-on-ones too. I always say that Laudrup had three eyes, not two like everyone else. As a forward, I had to be aware all the time, because he could make you a chance out of nothing and you had to be prepared for that moment." Andrés Iniesta, who became known for using Laudrup's signature dribbling move – the croqueta – rated Laudrup as the greatest player of all time.
Throughout his career, his number of assists were almost always the highest of his team. However, despite his talent and reputation as one of the most technically gifted and creative players of his generation, certain players, pundits and managers have questioned Laudrup's work rate, mentality, determination, and consistency throughout his career at times, in particular in his early career. His former Juventus teammate and admirer Michel Platini, for example, once said, "[Laudrup]'s the greatest player in the world, in training," also describing him as "one of the biggest talents ever," while also lamenting that he "never used his talent to its fullest during matches." His former Barcelona manager Johan Cruyff described him as "One of the most difficult players [he had] worked with," adding: "When he gives 80–90% he is still by far the best, but I want 100%, and he rarely does that." In 1998, he stated: "Had Michael been born in a poor ghetto in Brazil or Argentina with the ball being his only way out of poverty he would today be recognised as the biggest genius of the game ever. He had all the abilities to reach it but lacked this ghetto-instinct, which could have driven him there." At Swansea in 2012, Alan Tate commented: "He is still the best player in training at [age] 48 years." This was echoed by Swansea player Danny Graham: "Laudrup was the best player in training by a mile. It was unreal." In addition to his playing ability, Laudrup was known for his good conduct on the pitch and he never received a red card in his career.
Managerial career
Early years
After his playing career ended with Ajax, Laudrup became a coach at age 36 when he started serving as an assistant coach for the Denmark national team head coach Morten Olsen in 2000. The national team would play a 4–2–3–1 formation, depending on two fast wingers and with the aim to dominate games with a short-passing possession game. Together, they led Denmark to the knock-out stage of the 2002 World Cup.
Brøndby
After his success as Denmark assistant manager, Laudrup signed on as manager for Danish Superliga club Brøndby. As his assistant coach, he paired up with former Danish championship winning manager John Jensen, who had played alongside him in the Denmark national team. At the start of his reign, he proclaimed a tactical scheme close to that which Olsen and he had coached at the national team. He renovated the Brøndby team by letting a large contingent of older and experienced players leave, in favour of several new offensive players, and he also gave the chance to young talents from the club's youth scheme.
To ensure the defensive strength of the team, Laudrup signed proven national team player Morten Wieghorst. He began his reign as Brøndby manager by winning his first trophy in his managerial career, the 2002 Danish Supercup. In his first season as head coach, he guided the team to win the Danish Cup, after Brøndby beat Midtjylland 3–0 in the final and runners-up in the Danish Superliga. Laudrup's success led him to being voted and awarded the Danish Manager of the Year.
In the following season, he again finished the season runners-up to first place Copenhagen by just one point. However, he would not be denied in the 2004–05 season, where he finally led the team to the Danish Superliga title. In the same season, he also completed The Double after he won his second Danish Cup in four seasons. This saw him being given his second Danish Manager of the Year award. After finishing runners-up in the 2005–06 Danish Superliga, Laudrup announced that he, along with assistant Faxe Jensen, could not come to an agreement for a one-year contract extension that was offered by the club. The pair, after winning four trophies in four seasons, subsequently left Brøndby in June 2006.
Laudrup was associated with several new jobs, including becoming manager of former club Real Madrid and that he would replace Lars Lagerbäck as head coach of the Sweden national team.
In 2007, Brøndby decided to name a new lounge at the stadium "The Michael Laudrup Lounge", with Laudrup's approval. His success led him to being voted and awarded the Danish Manager of the Year.
Getafe
On 21 June 2007, Laudrup was linked to a move to Madrid-based La Liga club Getafe by sports newspaper Marca. This was confirmed on 9 July 2007. During his stay in Getafe, the club reached the final of the Copa del Rey, losing to Valencia, and the quarter-finals of the UEFA Cup, losing in extra time to Bayern Munich. During his tenure as successor to Bernd Schuster, he brought in a new brand of exciting and free-flowing attacking football to the club, bringing back memories of Laudrup as a player. His team, which was not one of the established powers in Spanish football, enjoyed comparative success. However, he performed only one season as manager, resigning in May 2008.
After Laudrup announced his departure from Getafe, he was linked with jobs at Barcelona, Valencia, Benfica, Chelsea, Blackburn Rovers, Panathinaikos, CSKA Moscow and West Ham United. He almost got the job at Panathinaikos, but according to Danish media, he wanted an option to allow him to leave if he received an offer from a Spanish club. This request was not accepted by the Greeks, who chose to hire Henk ten Cate instead.
Spartak Moscow
On 12 September 2008, it was officially announced that Laudrup had signed a one-and-a-half-year contract to manage Spartak Moscow, replacing Stanislav Cherchesov following his dismissal after a string of poor results. However, Laudrup started on a poor note, winning just one of his first four league matches. He was subsequently sacked on 15 April 2009, just seven months on the job, in the wake of Spartak's quarter-final 3–0 loss to Dynamo Moscow in the Russian Cup. The official statement from Spartak read, "From this point onwards, head coach Michael Laudrup has been relieved of his responsibilities because of unsatisfactory results."
On 22 October 2009, Spanish media announced Laudrup would be appointed as new manager of Spanish side Atlético Madrid, replacing the short and unsuccessful run of Abel Resino, following Atlético's 4–0 UEFA Champions League group stage defeat to Chelsea. However, Laudrup and Atlético were not able to agree on terms and the deal fell apart. The day after, on 23 October, Resino was sacked and Quique Sánchez Flores was appointed as coach as the side's second-choice.
Mallorca
In July 2010, Laudrup was appointed manager of Mallorca on a contract lasting until the end of June 2012. In his first season, he kept the struggling Mallorca side from relegation, which was suffering from losing many first team players and who was ejected from the UEFA Europa League due to its poor financial situation. At the beginning of the 2011–12 season, on 27 September 2011, Laudrup resigned as manager following the firing of his assistant, Erik Larsen. Laudrup cited great frustration with Lorenzo Serra Ferrer, the club's director of football, leading to a bad work climate as the main reason for his resignation.
Swansea City
On 15 June 2012, Laudrup was appointed manager of Swansea City on a two-year contract, becoming the first Dane to manage in the Premier League. He made several new signings after arriving at Liberty Stadium, including Michu, Chico Flores, Pablo Hernández, Jonathan de Guzmán and Ki Sung-yueng. His first competitive match as Swansea manager came as an impressive 0–5 away win at Loftus Road against Queens Park Rangers.
At Swansea, Alan Tate said that Laudrup was considered to be the best player in training, despite being 48 years old. He has been commended for his choice of signings, most notably with Michu, who scored 22 goals in 2012 for Swansea after he signed him for a bargain €2.5 million from Rayo Vallecano. On 23 January 2013, he led Swansea into their first ever major cup final after defeating reigning European champions Chelsea 2–0 on aggregate over two legs in the League Cup semi-finals.
On 7 February 2013, Laudrup appointed former Danish international midfielder Morten Wieghorst as his assistant after previously signing him as a player when Laudrup was managing Brøndby. Laudrup would later say he "certainly" believes Wieghorst "can be manager" of Swansea, as "he has experience from Scottish football and is familiar with English football". On 24 February, Laudrup said he had no "ambition to become the manager" of a big club, because he could not "have done everything for 10 years" in management and then be fired "after nine months" for not winning any trophies. He also said it gave him "much more pleasure to see how well" he could do where he did not "have to win all the time".
On 24 February 2013, Laudrup won his first trophy with Swansea after his side beat Bradford City 5–0 to win the Football League Cup at Wembley. This was also Swansea's first major trophy in English football in the club's history.
Following Swansea's 1–0 win over Newcastle United on 2 March 2013 the club moved into eighth position in the top-half of the Premier League table, seemingly safe from relegation with 40 points and ten games left; Laudrup said he wanted Swansea to finish eighth, stating that "coming eighth [will be] like winning the league" for the club because he felt "the first seven spots" were already taken by Manchester United, Manchester City, Chelsea, Tottenham Hotspur, Arsenal, Liverpool and Everton. On 3 March, though he had said that his "intention" was "to stay" in south Wales for the next year, Swansea chairman Huw Jenkins said that the club were in the "process of looking for the next manager" of the club in case Laudrup did choose to leave the club.
On 8 March 2013, Laudrup signed a new contract with Swansea, keeping him at the club until 2015. Reports indicated that he agreed to a contract with a release clause in the region of £5 million, much like the release clause Brendan Rodgers agreed to when he signed a contract extension at the Liberty Stadium four months prior to joining Liverpool. On 10 May, however, he confirmed that his "intention" was to stay at Swansea "next season," saying that reports he wanted to leave Wales was "pure speculation."
On 4 February 2014, Laudrup was sacked by Swansea following a poor run of form which left the club two points clear of relegation. At the time of the decision, the team had lost six out of their last eight league games.
Lekhwiya
On 30 June 2014, Laudrup became the new manager of Qatar Stars League champions Lekhwiya after signing a one-year deal. He guided the Lekhwiya to a club-record Qatar Stars League and a Crown Prince Cup double in his first season. The club also qualified for the quarter-finals of the 2015 AFC Champions League during his reign. On 17 June 2015, Laudrup announced that he would not extend his contract, departing the club.
Al Rayyan
On 3 October 2016, Laudrup was unveiled as the new manager of Al Rayyan on a two-year contract, replacing Jorge Fossati. His first match in charge was on 15 October 2016, when Al Rayyan faced Al Sailiya in an away match in the league, with the match ending in a 1–1 draw.
Style of management and tactics
As assistant manager to Morten Olsen, the Denmark national team employed a 4–2–3–1 system with pacey wingers playing the pivotal role in attack. Laudrup learnt from Olsen and used the same tactical style with Brøndby, with the team becoming more attacking and focused on a short passing style. He continued to employ a similar tactical style when he joined Getafe, ushering a new brand of exciting and free-flowing attacking football to help the club to the Copa del Rey final. However, at Spartak Moscow, he could not adapt his formation and tactics to the Russian game, with the club unable to score enough goals per match.
As Mallorca manager, Laudrup inspired a team that lost a number of key players from relegation by playing an offensive game. In 2012, he joined Swansea City as manager, replacing Brendan Rodgers. Under Rodgers, Swansea were known to play a 4–3–3 approach with a lot of focus on passing, where the full-backs pushed up when in possession and the outfield players played a high tempo pressing game. Under Laudrup, the team began employing a 4–2–3–1 formation, becoming more attacking while retaining the passing and pressing game. He also signed a number of new players, primarily from La Liga, trying to bring the attacking style from Spain to Wales, which saw more goals scored. He said, "You can get a lot of quality for a reasonable amount in Spain right now."
Laudrup earned plaudits for maintaining their flowing, attacking brand of football and attractive, passing style of play throughout the season, which saw his side win the League Cup, after beating Bradford City a record 5–0 in the final. "You can't ask players to do things that Cristiano Ronaldo and Lionel Messi are doing, but you can ask the easy things," he said. "Sometimes the easiest things in football, a simple pass five or eight yards, can be the most effective. That, everybody can learn."
Outside of football
Personal life
Michael Laudrup is part of a family with three generations of footballers. His uncle was former Brøndby and Aberdeen manager Ebbe Skovdahl. He is the son of former Danish national team player Finn Laudrup. From his marriage with his first wife, Tina Thunø, Laudrup has a son, Mads. Mads has been the team captain of various Danish youth national teams since January 2005. Today, he is married with Siw Retz Laudrup, with whom he has two children, Andreas and Rebecca. Andreas was selected a part of the under-16 national team in March 2006.
Michael Laudrup has a younger brother, Brian Laudrup, who was also a footballer. Brian Laudrup is the record holder of Danish player of the year awards with four, and was rated by FIFA as the fifth-best player in the world in 1992. Brian Laudrup was in the Euro 92 Team of the Tournament and World Cup 98 Team of the Tournament. Brian was also known for his part in the Rangers squad which won nine consecutive titles in the 1990s. Brian was a part of the trophy-winning Danish national team at UEFA Euro 1992, but Michael did not play in that championship due to differences with the national team coach Richard Møller Nielsen and because he thought that the barring of Yugoslavia for political, rather than football, reasons was not just. In 2004, both the Laudrup brothers were named in the FIFA 100, a list of the 125 greatest living footballers chosen by Pelé as part of the celebration of FIFA's 100th anniversary.
Politics and business
Alongside his professional football career, Laudrup began importing Spanish wine to Denmark starting in 1993. Initially, the wine import was sort of a hobby, but business grew rapidly and today his company Laudrup Vin og Gastronomi has over ten employees, runs a Wine Academy and imports wines from all over the world.
In 2004, Michael Laudrup was one of the founders of CEPOS, a Danish classical liberal/free-market conservative think-tank.
Career statistics
Club
International
Scores and results list Denmark's goal tally first, score column indicates score after each Laudrup goal.
Managerial statistics
Honours
Player
Juventus
Serie A: 1985–86
Intercontinental Cup: 1985
Barcelona
La Liga: 1990–91, 1991–92, 1992–93, 1993–94
Copa del Rey: 1989–90
Supercopa de España: 1991, 1992
European Cup: 1991–92
UEFA Super Cup: 1992
Real Madrid
La Liga: 1994–95
Ajax
Eredivisie: 1997–98
KNVB Cup: 1997–98
Denmark
FIFA Confederations Cup: 1995
Individual
Danish Player of the Year (2): 1982, 1985
Don Balón Award – La Liga Best Foreign Player of the Year: 1991–92
ESM Team of the Year: 1994–95
FIFA XI (Reserve): 1996
FIFA World Cup All-Star Team: 1998
Best Foreign Player in Spanish Football in the last 25 years: 1974–1999
UEFA Golden Player (Greatest Danish Footballer of the last 50 Years): 2003
FIFA 100
Denmark's Best Player of All Time: 2006
Scandinavia Best Player Ever: 2015
Danish Football Hall of Fame
World Soccer The Greatest Players of the 20th century: The 100 Greatest Footballers of All Time
Manager
Brøndby
Danish Superliga: 2004–05
Danish Cup: 2002–03, 2004–05
Danish League Cup: 2005
Danish Supercup: 2002
Swansea City
Football League Cup: 2012–13
Lekhwiya
Qatar Stars League: 2014–15
Crown Prince Cup: 2014–15
Individual
Danish Manager of the Year: 2002–03, 2004–05
Qatar Stars League Manager of the Month: August 2014, December 2014
Orders
Order of the Dannebrog: 2000
Films
Jørgen Leth, "Michael Laudrup – en fodboldspiller", Denmark, 1993
References
Sources
Further reading
Bruno Bernardi, "Michael Laudrup", Italy, 1986
Flemming Nielsen and Vagn Nielsen, "Fodboldkunstneren Michael Laudrup : rundt om en stjerne", Denmark, 1986
Michael Laudrup, "Mod nye mål", Denmark, 1989,
External links
1964 births
Living people
Sportspeople from Frederiksberg
Danish footballers
Association football midfielders
Association football forwards
Kjøbenhavns Boldklub players
Brøndby IF players
Juventus F.C. players
S.S. Lazio players
FC Barcelona players
Real Madrid CF players
Vissel Kobe players
AFC Ajax players
Danish 1st Division players
Serie A players
La Liga players
J1 League players
Japan Football League (1992–1998) players
Eredivisie players
UEFA Champions League winning players
Denmark youth international footballers
Denmark under-21 international footballers
Denmark international footballers
UEFA Euro 1984 players
1986 FIFA World Cup players
UEFA Euro 1988 players
1995 King Fahd Cup players
UEFA Euro 1996 players
1998 FIFA World Cup players
FIFA Confederations Cup-winning players
FIFA 100
FIFA Century Club
UEFA Golden Players
Danish expatriate footballers
Danish expatriate sportspeople in Italy
Danish expatriate sportspeople in Spain
Danish expatriate sportspeople in Japan
Danish expatriate sportspeople in the Netherlands
Expatriate footballers in Italy
Expatriate footballers in Spain
Expatriate footballers in Japan
Expatriate footballers in the Netherlands
Danish football managers
Brøndby IF managers
Getafe CF managers
RCD Mallorca managers
FC Spartak Moscow managers
Swansea City A.F.C. managers
Lekhwiya SC managers
Al-Rayyan SC managers
Danish Superliga managers
La Liga managers
Russian Premier League managers
Premier League managers
Qatar Stars League managers
Danish expatriate football managers
Danish expatriate sportspeople in Russia
Danish expatriate sportspeople in Wales
Danish expatriate sportspeople in Qatar
Expatriate football managers in Spain
Expatriate football managers in Russia
Expatriate football managers in Wales
Expatriate football managers in Qatar
Danish knights | false | [
"Michael Gard (born 24 January 1952) is a former Australian politician. He was born in Franklin, Tasmania. He was an unsuccessful Labor candidate for Braddon in the 1996 Tasmanian election, but in 1997 he was elected in a countback following the resignation of Michael Field. He was defeated in 1998, when the House was reduced in size.\n\nReferences\n\n1952 births\nLiving people\nMembers of the Tasmanian House of Assembly\nAustralian Labor Party members of the Parliament of Tasmania",
"Michael Palaiologos (; born 1337) was the second son of Byzantine emperor Andronikos III Palaiologos (reigned 1328–1341).\n\nLittle is known of Michael's life. He was born in 1337, during his father's reign, and was hence styled a porphyrogennetos. Sometime before Andronikos III's death in 1341, Michael was raised to the supreme court rank of Despot. In 1351/52, when his elder brother, Emperor John V Palaiologos (r. 1341–1391), was engaged in a struggle for the throne with Matthew Kantakouzenos, John V, who sought aid from the Serbian Emperor Stephen Dushan (r. 1331–1355), sent him as a hostage to the Serbian court. Nothing further is heard of him.\n\nReferences\n\nSources\n \n \n\n1337 births\n14th-century Byzantine people\nDespots (court title)\nMichael\nPorphyrogennetoi\nYear of death unknown\n14th-century deaths\nSons of Byzantine emperors"
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| C_907acbafa04846529c2980d19bfbb694_1 | What was the start of his career? | 3 | What was the start of Michael Laudrup's career? | Michael Laudrup | Laudrup made his senior debut in 1981, and made his debut for the Danish under-19 national team in February 1981. In all, he scored a combined total of 14 goals in 25 games at various youth levels. He went back to play for Brondby in 1982, where his father had ended his career in 1981, contributing to the promotion of Brondby to the 1st Division. At Brondby, Laudrup scored two goals in the club's 1st Division debut game, as fellow promoted team Boldklubben 1909 were beaten 7-1. He scored 15 league goals in 1982, and ended the season as the third top goal scorer of the 1st Division. His accomplishments earned him the 1982 Danish Player of the Year award. He played part of the 1983 season for Brondby, and scored nine goals, before he was sold to defending Serie A champions Juventus from Italy in June 1983. It was the biggest transfer deal in Danish football at the time, worth around $1 million. He was due to sign for Liverpool the same year on a three-year contract, but at the last minute, Liverpool proposed a four-year contract and Laudrup opted not to sign. Under restriction of a maximum of two foreign players in the team, of which the club had Polish midfielder Zbigniew Boniek and Michel Platini, Juventus initially lent Laudrup to newly promoted Rome club Lazio for a single season, something he had not been informed about before signing for Juventus. With Lazio, he scored two goals in his Serie A debut, a 2-4 loss to Hellas Verona. In his first year at Lazio, Lazio narrowly avoided relegation, but as Juventus wanted to keep Boniek and Platini, he stayed for another year. Lazio started the 1984-85 season poorly, eventually finishing in last place to become relegated to Serie B. Laudrup scored just one goal that season. Laudrup returned to Juventus in summer 1985 to replace Zbigniew Boniek, playing alongside Michel Platini. In his first year at the club, he won the 1985-86 Serie A as well as the Intercontinental Cup trophy, scoring the equalising goal in the final of the latter tournament, although he later missed a penalty in the resulting shoot-out; he was once again named Danish Player of the Year in 1985. However, the following season was no success for Laudrup, who suffered multiple injuries, much like the majority of Juventus players, including Platini. When Platini retired in 1987, Laudrup was expected to lead the team in his place, playing alongside newly bought Welsh forward Ian Rush. But Laudrup failed to live up to Platini's standards and did not score any goals, despite playing all 30 matches of the 1987-88 season. CANNOTANSWER | Laudrup made his senior debut in 1981, and made his debut for the Danish under-19 national team in February 1981. | Michael Laudrup (, born 15 June 1964) is a Danish professional football coach and former player. He is the older brother of fellow retired footballer Brian Laudrup. He is widely regarded as one of the greatest players of all time.
During his playing career, Laudrup won league titles with Ajax, Barcelona, Real Madrid and Juventus, playing mainly as an attacking midfielder, although he was also capable of playing in other offensive positions. A world class playmaker, he was a member of Johan Cruyff's "Dream Team" at Barcelona, where he won nine trophies, including four successive La Liga titles from 1991 to 1994 and the European Cup in 1992. Laudrup moved to arch-rivals Real Madrid in 1994, with whom he won his fifth La Liga title in a row.
Laudrup made his debut for the Denmark national team on his 18th birthday in 1982, and scored 37 goals in 104 appearances. He starred in the 1986 FIFA World Cup, and from November 1994, he captained Denmark for a total of 28 matches, including the victorious 1995 Confederations Cup tournament. He played alongside his brother Brian in the Denmark team that reached the quarter-finals of the 1998 World Cup, and retired as an active player after the tournament.
In 1999, Laudrup was voted the Best Foreign Player in Spanish Football over the preceding 25-year period and in April 2000 he was knighted, receiving the Order of the Dannebrog. In November 2003, to celebrate UEFA's Jubilee, he was selected as the Golden Player of Denmark by the Danish Football Union, their most outstanding player of the past 50 years. He was officially named the best Danish footballer of all time by the Danish Football Union (DBU) in November 2006. He was named by Pelé in the FIFA 100 list of the world's greatest living players at a FIFA awards ceremony in 2004. In April 2013, he was named by Marca readers in the "Best foreign eleven in Real Madrid's history".
On 16 October 2021, at a show celebrating the National Olympic Committee and Sports Confederation of Denmark's 125th anniversary, 125 candidates for the title of the greatest ever Danish sports star had been reduced to eight, and Laudrup was named the winner.
After retiring as a player, Laudrup took up coaching, and became assistant manager of the Denmark national team. He got his first manager job at former club Brøndby in 2002, whom he guided to the 2005 Danish Superliga championship. He chose not to extend his contract with Brøndby in May 2006. He took over as coach of Getafe and had notable success there. He brought the club comparative success in the Copa del Rey and UEFA Cup, and the team's attacking style received plaudits. On 15 June 2012, Laudrup was appointed the manager of Premier League club Swansea City on a two-year contract. In his first season in south Wales, he won the League Cup, the first major English trophy in Swansea's 100-year history. On 4 February 2014, he was sacked by Swansea after a "significant" slump in the Premier League, leaving them two points above the relegation zone. Laudrup then managed Qatari clubs Lekhwiya and Al Rayyan between 2014 and 2018.
Club career
Born in Frederiksberg, Copenhagen, Michael Laudrup began playing football in father Finn Laudrup's childhood club Vanløse. When Finn Laudrup became player/coach of Brøndby IF in 1973, the family moved to Brøndby and both Michael and his brother Brian Laudrup started playing for the club as well. Michael followed his father to the top-flight Danish 1st Division club Københavns Boldklub in 1976, while Brian remained at Brøndby.
Early career
Laudrup made his senior debut playing for KB (Kjøbenhavns Boldklub) in 1981, and made his debut for the Danish under-19 national team in February 1981. In all, he scored a combined total of 14 goals in 25 games at various youth levels. He went back to play for Brøndby in 1982, where his father had ended his career in 1981, contributing to the promotion of Brøndby to the 1st Division.
At Brøndby, Laudrup scored two goals in the club's 1st Division debut game, as fellow promoted team Boldklubben 1909 were beaten 7–1. He scored 15 league goals in 1982, and ended the season as the third top goal scorer of the 1st Division. His accomplishments earned him the 1982 Danish Player of the Year award. He played part of the 1983 season for Brøndby, and scored nine goals, before he was sold to defending Serie A champions Juventus from Italy in June 1983. It was the biggest transfer deal in Danish football at the time, worth around $1 million. He was due to sign for Liverpool the same year on a three-year contract, but at the last minute, Liverpool proposed a four-year contract and Laudrup opted not to sign.
Under restriction of a maximum of two foreign players in the team, of which the club had Polish midfielder Zbigniew Boniek and Michel Platini, Juventus initially lent Laudrup to newly promoted Rome club Lazio for a single season, something he had not been informed about before signing for Juventus. With Lazio, he scored two goals in his Serie A debut, a 2–4 loss to Hellas Verona. In his first year at Lazio, Lazio narrowly avoided relegation, but as Juventus wanted to keep Boniek and Platini, he stayed for another year. Lazio started the 1984–85 season poorly, eventually finishing in last place to become relegated to Serie B. Laudrup scored just one goal that season.
Laudrup returned to Juventus in summer 1985 to replace Zbigniew Boniek, playing alongside Michel Platini. In his first year at the club, he won the 1985–86 Serie A as well as the Intercontinental Cup trophy, scoring the equalising goal in the final of the latter tournament, although he later missed a penalty in the resulting shoot-out; he was once again named Danish Player of the Year in 1985. However, the following season was not a success for Laudrup, who suffered multiple injuries. When Platini retired in 1987, Laudrup was expected to lead the team in his place, playing alongside newly bought Welsh forward Ian Rush. But Laudrup failed to live up to Platini's standards and did not score any goals, despite playing all 30 matches of the 1987–88 season.
Barcelona
After an unsuccessful season with Juventus, Laudrup decided it was time to leave, looking for a new experience after six years in Italy. In 1989, he joined Spanish club Barcelona on the premise that Netherlands coach Johan Cruyff, his childhood role model, had been assembling a team that was striving for success. Immediately, Laudrup enjoyed major success under Cruyff's leadership, citing the Dutchman's philosophy and perception of the game as one of the main assets that helped foster his talent. He was one of the restricted three foreign players allowed in the team, alongside Dutch defender Ronald Koeman and Bulgarian striker Hristo Stoichkov, who were the pillars of the Barça "Dream Team", along with rising stars Pep Guardiola, José Mari Bakero, and Txiki Begiristain.
The Dream Team played attractive football that was comparable to the 1970s Ajax team, and won four consecutive La Liga championships from 1991 to 1994, as well as the 1991–92 European Cup, along with the 1992 UEFA Super Cup, 1989–90 Copa del Rey and 1991 and 1992 Supercopa de España titles. Laudrup was twice named the best player of the year in Spain during his Barcelona years. When Barça hired a fourth foreign star player, Brazilian striker Romário in 1993, it meant the four foreigners would rotate as the three foreign players allowed in each match, and when he was not selected for the 1994 European Cup final 0–4 loss to Milan (amid conflicts with Cruyff), his time at Barcelona was effectively over. After the match, Milan's manager Fabio Capello remarked: "Laudrup was the guy I feared but Cruyff left him out, and that was his mistake."
Laudrup's departure from Barcelona was a huge blow for the fans and his teammates alike. Pep Guardiola was reportedly so upset by the news that he cried and begged Laudrup to change his mind. Reflecting on his time at Barcelona, Laudrup commented, "I think we played some very good football, and I think most of all we demonstrated that even without getting the ten best players in the world, you can have the best team. Because everybody talked about Begiristain, Bakero, Guardiola, Stoichkov, and Koeman, but when we started none of us was a best player, then we became maybe the best team in the world, together with AC Milan in that period."
Real Madrid
In 1994, Laudrup completed a controversial move from Barça to Real Madrid after he fell out with Johan Cruyff. On this, Laudrup stated he did not have a hidden agenda. It was the year after the 1994 FIFA World Cup and according to him, because players usually suffer a drop in performance after such a major international tournament, he correctly predicted that Barcelona would not win major trophies the following season.
Despite widespread belief Laudrup joined arch-rivals Real Madrid in an attempt to "get back" at Cruyff, the decision was based on the fact Real Madrid had been struggling for a long period and were eager to return to supremacy, like Barcelona when he decided to join them. Laudrup said, "People say I wanted to go to Real Madrid just to get revenge. I say revenge from what? I've had a perfect time; five fantastic years here [at Barcelona]. I went to Madrid because they were so hungry to win, and they had four or five players who went to the World Cup. I said this would be perfect; new coach, new players, and hungry to win." On 5 November 1994, he assisted Raúl's first professional goal in a 4–2 win over Atlético Madrid
Laudrup went on to guide Real Madrid in a championship-winning season that would end the Barça stranglehold, making him the only player ever to win the Spanish league five times in a row playing for two different clubs. After the initial success at Real, a lacklustre season would be in store for the club. Despite only playing two seasons at Real Madrid, he was voted the 12th-best player in Real Madrid history in an internet survey by Spanish newspaper Marca when the club celebrated its 100th anniversary in 2002. While playing with Barcelona, he participated in the 5–0 victory over rivals Real Madrid in the 1993–94 season. The following season while playing for Real Madrid, he aided in the revenge beating Madrid gave Barça, the final score also ending 5–0. Daniel Storey wrote of Laudrup, "no other player is loved on both sides of the clásico divide quite like Laudrup" as he remains held in high regard by both Barça and Madrid fans. Following the match, Laudrup's former Barcelona manager Cruyff commented: "When Michael plays like a dream, a magic illusion, determined to show his new team his extreme abilities, no one in the world comes anywhere near his level."
Later career and retirement
In 1996, Laudrup left Real Madrid to play for Vissel Kobe in Japan. On 18 August 1996, he played his first match for Vissel Kobe and scored two goals in a 4–2 win against Brummell Sendai. He helped Vissel to promotion from the second-tier Japan Football League to the J1 League. He was registered as a player in Bosnian Premier League club Čelik Zenica in a controversial signing in which he did not play any games for Čelik, but was signed as a player. After the details were resolved, he ended his playing career in a championship winning season at Dutch side Ajax in 1998.
Following his retirement, Laudrup sometimes turned out to play for Lyngby's Old Boys team in his spare time.
International career
Laudrup was called up for the Denmark national team during Brøndby's debut season in the top-flight. On his 18th birthday on 15 June 1982, he became the then-second-youngest Danish national team player ever, following Harald Nielsen. Despite playing for relegation battlers Lazio, Laudrup starred for the Denmark national team at UEFA Euro 1984, playing all four of Denmark's matches.
Laudrup participated in the 1986 FIFA World Cup in Mexico, a performance which is best remembered for his exceptional solo dribble and goal in the 6–1 defeat of Uruguay. He was also a part of the disappointing Denmark squad at Euro 1988, though Laudrup experienced personal success, scoring one of Denmark's two goals.
Following three matches in the qualification campaign for Euro 1992, Laudrup opted to quit the national team in November 1990 (alongside his brother Brian Laudrup and Jan Mølby) following differences with coach Richard Møller Nielsen. The Danes originally failed to qualify but were later given Yugoslavia's place as Yugoslavia were disqualified due to war in their country. Notwithstanding their qualification, Laudrup rated Denmark's chances of success so low he stayed on holiday. However, Denmark caused one of the biggest upsets in football history by going on to win the tournament, beating holders the Netherlands in the semi-final and, in the final beating reigning world champions and favourites Germany, with a 2–0 win thanks to goals from John Jensen and Kim Vilfort.
Laudrup returned to Nielsen's Danish squad in August 1993, but saw Spain and the Republic of Ireland qualify for the 1994 World Cup ahead of Denmark. He scored a goal in the 2–0 victory against Argentina, as Denmark won the 1995 Intercontinental Cup. He also scored four goals in ten matches as Denmark qualified for Euro 1996.
Laudrup's last matches for Denmark came at the 1998 World Cup, when he captained the nation to the quarter-final. Laudrup made his 100th appearance for Denmark in the team's opening game of the tournament, a 1–0 defeat of Saudi Arabia in Lens. Denmark was defeated 2–3 by Brazil in the quarter-finals, and both Michael and Brian Laudrup announced their international retirement following the elimination. Both brothers ended their international careers on a high note as both Michael and Brian were named in FIFA's All-Star Team.
Player profile
Style of play
A quick, intelligent and talented midfielder, known for his pace on the ball, Laudrup is regarded as one of the most effective and versatile attacking midfielders, as well as one of the most skilful and elegant players in the history of the game. Although primarily an offensive playmaker, he was capable of playing in several positions in or behind the front-line, and was even deployed as a winger, as a central midfielder or deep-lying playmaker, or as a second striker on occasion, in particular in his youth, or even as a forward or striker on rarer instances; he was also used as a centre-forward on occasion under his Barcelona manager Johan Cruyff, a role which was similar to that of the modern false 9 role. Laudrup is considered by many in the sport as one of the best passers of all time, and as one of the most technically accomplished players ever.
Regarding Laudrup's vision and passing ability, his brother Brian stated in 2008: "My brother started as an attacker but became an elegant attacking midfielder, perhaps the most complete there has ever been. His vision, speed of thought and passing were on a different level; he always knew what was going to happen before anybody else did. If anyone had a 'football brain', it was him." Despite being primarily a creative team player, he also possessed an accurate shot, and was capable of scoring goals as well as creating them.
Nicknamed "The Prince of Denmark," throughout his career, Laudrup was acclaimed for his technique, balance, elegance, ball control, and dribbling ability, as well as his vision, ability to read the game, and range of passing, including deep passes, through balls, and crosses, which made him an excellent assist provider. In regard to his vision, Jorge Valdano, the Argentinian coach of Laudrup in Real Madrid, said, "[H]e has eyes everywhere." His trademark move – looking one way and passing the other – fooled countless opponents during his career.
The Laudrup dribble, a signature feint also known as the croqueta, was perhaps the best-known part of his game, and involved him quickly moving the ball from one foot to the other away from the defender, a move which was later also popularised by later Barcelona midfielder Andrés Iniesta. Laudrup's ball skills and feints were combined with creativity, which he used to get past defenders in one on one situations. This led to the expression "Made in Laudrup" being coined in the Spanish football media, which was widely used in Spain to describe his trademark assists, in particular his lobbed passes, as well as his unique play. According to a 2018 article by Josh Butler of The Athletic and These Football Times, several of Laudrup's teammates said of his creative style of play: "Just run, he will always find a way of passing you the ball."
Reception
Throughout his career, Laudrup was often ranked among the best players in the world, with the French three-time European footballer of the year award winner Michel Platini describing him as one of the most talented players ever, only lamenting his lack of selfishness causing him to score too few goals. In a 2006 interview, Laudrup's Real Madrid teammate Raúl called him the best player he had ever played with, a view echoed by his Barcelona teammate Romário, who opined that he was able to create and score goals almost at will, and ranked him the fourth-best player in the history of the game (behind Pelé, Diego Maradona and himsel). Luís Figo instead labelled Laudrup as arguably the best opponent he had ever faced. Ronald Koeman rated Laudrup as "possibly the most skillful and elegant player [he] ever played with," adding: "Few could dribble like he could. He could sense when a game was ready to be seized and transformed by a moment of individual brilliance." Roberto Galia stated in 2008: "I have played against Maradona, Platini and Baggio. But the player I saw do the most indescribable things was Michael Laudrup." Former teammate Guillermo Amor said: "I have never seen a better player in one-on-ones. He was our special player."
Thierry Henry named Laudrup as the best player he had never played with, saying he did not know any better passer than him and "the world of football did not give him the credit that guy [Laudrup] deserved." John Toshack ranked Laudrup as "the best player of his generation," likening him to Cruyff both as a player and a manager, a view shared by Franz Beckenbauer, who dubbed Laudrup the best player of the 90s. Javier Clemente once stated: "To me, Michael Laudrup is the most genius player the world has ever seen. He will always be my numero uno. Always." José Mari Bakero instead remarked: "No one has given the club [Barcelona] as much inspiration as Michael. We all look up to him. It is a privilege to have your day enriched by a genius." In 2012, Ian Rush described him as "an incredible player," who "probably had the most individual skill" he had ever seen. Daniel Storey of Planet Football stated in 2020 that he believed that Laudrup was one of the most underrated players of the previous 30 years, a view shared by Albert Ferrer, who stated in 2009: "Few people made me enjoy the game as much as Michael. Maybe he didn't get the media recognition he deserved, but he was so classy and a real thinker. A master of the blind pass and impossible through-balls and I will never forget his 'spoon' pass in a game against Osasuna. He lifted the ball right over the defence and Romario touched it in first time."
At Barcelona, Laudrup played alongside Hristo Stoichkov, who scored many goals from Laudrup's passes. Regarding Laudrup's ability to create chances for his teammates, he commented in his 2008 autobiography: "From more than hundred goals that I scored I'm sure that over 50 were assisted by Michael. To play with him was extremely easy. We found each other by intuition on the field and found common football language. Look at Ivan Zamorano. Laudrup went there (Real) and Zamorano is a goalscorer. Sometimes I envy Ivan for the passes he receives. Passes on foot after you accelerated. Few people understand football like the Danish player. He can only be compared with Maradona, Schuster or Roberto Baggio. They make things easy and find the right solutions. For them [it] is simple, for the opponent – unthinkable. Phenomenal! His only problem is his character. He is emotional and terribly reserved. This affects him a lot, because he takes everything personally – no matter if someone tells him something or decision that he does not agree. His relations with Cruyff were delicate because he couldn't take the critics. I listen to him but I don't care that much. For Michael this was fatal. He couldn't take it anymore so he left without a word." That same year, in an interview with FourFourTwo magazine, Stoichkov included Laudrup in his "Perfect XI," and labelled him as: "One of the best European players I've ever seen," and as a player who was "up there with the greats." He went on to describe him as: "An elegant, old-fashioned playmaker," who "did things few other footballers could do." In 2010, he instead said that "Laudrup was the greatest."
Another striker who benefitted from Laudrup's playmaking abilities was Real Madrid teammate Iván Zamorano, who called Laudrup "El Genio" ("The Genius," in Spanish) during Laudrup's time in the Spanish capital. Zamorano was going through a hard spell in Madrid, but when Laudrup arrived to assist his goals, Zamorano immediately became the top goalscorer of La Liga, winning the pichichi trophy; Zamorano himself credited Laudrup for his role in his increased goalscoring output, describing him as a "genius," while also commenting: "...The reason why I make so many goals is Laudrup." He also stated: "Michael was a magician and one of the greatest players ever. He was amazing in one-on-ones too. I always say that Laudrup had three eyes, not two like everyone else. As a forward, I had to be aware all the time, because he could make you a chance out of nothing and you had to be prepared for that moment." Andrés Iniesta, who became known for using Laudrup's signature dribbling move – the croqueta – rated Laudrup as the greatest player of all time.
Throughout his career, his number of assists were almost always the highest of his team. However, despite his talent and reputation as one of the most technically gifted and creative players of his generation, certain players, pundits and managers have questioned Laudrup's work rate, mentality, determination, and consistency throughout his career at times, in particular in his early career. His former Juventus teammate and admirer Michel Platini, for example, once said, "[Laudrup]'s the greatest player in the world, in training," also describing him as "one of the biggest talents ever," while also lamenting that he "never used his talent to its fullest during matches." His former Barcelona manager Johan Cruyff described him as "One of the most difficult players [he had] worked with," adding: "When he gives 80–90% he is still by far the best, but I want 100%, and he rarely does that." In 1998, he stated: "Had Michael been born in a poor ghetto in Brazil or Argentina with the ball being his only way out of poverty he would today be recognised as the biggest genius of the game ever. He had all the abilities to reach it but lacked this ghetto-instinct, which could have driven him there." At Swansea in 2012, Alan Tate commented: "He is still the best player in training at [age] 48 years." This was echoed by Swansea player Danny Graham: "Laudrup was the best player in training by a mile. It was unreal." In addition to his playing ability, Laudrup was known for his good conduct on the pitch and he never received a red card in his career.
Managerial career
Early years
After his playing career ended with Ajax, Laudrup became a coach at age 36 when he started serving as an assistant coach for the Denmark national team head coach Morten Olsen in 2000. The national team would play a 4–2–3–1 formation, depending on two fast wingers and with the aim to dominate games with a short-passing possession game. Together, they led Denmark to the knock-out stage of the 2002 World Cup.
Brøndby
After his success as Denmark assistant manager, Laudrup signed on as manager for Danish Superliga club Brøndby. As his assistant coach, he paired up with former Danish championship winning manager John Jensen, who had played alongside him in the Denmark national team. At the start of his reign, he proclaimed a tactical scheme close to that which Olsen and he had coached at the national team. He renovated the Brøndby team by letting a large contingent of older and experienced players leave, in favour of several new offensive players, and he also gave the chance to young talents from the club's youth scheme.
To ensure the defensive strength of the team, Laudrup signed proven national team player Morten Wieghorst. He began his reign as Brøndby manager by winning his first trophy in his managerial career, the 2002 Danish Supercup. In his first season as head coach, he guided the team to win the Danish Cup, after Brøndby beat Midtjylland 3–0 in the final and runners-up in the Danish Superliga. Laudrup's success led him to being voted and awarded the Danish Manager of the Year.
In the following season, he again finished the season runners-up to first place Copenhagen by just one point. However, he would not be denied in the 2004–05 season, where he finally led the team to the Danish Superliga title. In the same season, he also completed The Double after he won his second Danish Cup in four seasons. This saw him being given his second Danish Manager of the Year award. After finishing runners-up in the 2005–06 Danish Superliga, Laudrup announced that he, along with assistant Faxe Jensen, could not come to an agreement for a one-year contract extension that was offered by the club. The pair, after winning four trophies in four seasons, subsequently left Brøndby in June 2006.
Laudrup was associated with several new jobs, including becoming manager of former club Real Madrid and that he would replace Lars Lagerbäck as head coach of the Sweden national team.
In 2007, Brøndby decided to name a new lounge at the stadium "The Michael Laudrup Lounge", with Laudrup's approval. His success led him to being voted and awarded the Danish Manager of the Year.
Getafe
On 21 June 2007, Laudrup was linked to a move to Madrid-based La Liga club Getafe by sports newspaper Marca. This was confirmed on 9 July 2007. During his stay in Getafe, the club reached the final of the Copa del Rey, losing to Valencia, and the quarter-finals of the UEFA Cup, losing in extra time to Bayern Munich. During his tenure as successor to Bernd Schuster, he brought in a new brand of exciting and free-flowing attacking football to the club, bringing back memories of Laudrup as a player. His team, which was not one of the established powers in Spanish football, enjoyed comparative success. However, he performed only one season as manager, resigning in May 2008.
After Laudrup announced his departure from Getafe, he was linked with jobs at Barcelona, Valencia, Benfica, Chelsea, Blackburn Rovers, Panathinaikos, CSKA Moscow and West Ham United. He almost got the job at Panathinaikos, but according to Danish media, he wanted an option to allow him to leave if he received an offer from a Spanish club. This request was not accepted by the Greeks, who chose to hire Henk ten Cate instead.
Spartak Moscow
On 12 September 2008, it was officially announced that Laudrup had signed a one-and-a-half-year contract to manage Spartak Moscow, replacing Stanislav Cherchesov following his dismissal after a string of poor results. However, Laudrup started on a poor note, winning just one of his first four league matches. He was subsequently sacked on 15 April 2009, just seven months on the job, in the wake of Spartak's quarter-final 3–0 loss to Dynamo Moscow in the Russian Cup. The official statement from Spartak read, "From this point onwards, head coach Michael Laudrup has been relieved of his responsibilities because of unsatisfactory results."
On 22 October 2009, Spanish media announced Laudrup would be appointed as new manager of Spanish side Atlético Madrid, replacing the short and unsuccessful run of Abel Resino, following Atlético's 4–0 UEFA Champions League group stage defeat to Chelsea. However, Laudrup and Atlético were not able to agree on terms and the deal fell apart. The day after, on 23 October, Resino was sacked and Quique Sánchez Flores was appointed as coach as the side's second-choice.
Mallorca
In July 2010, Laudrup was appointed manager of Mallorca on a contract lasting until the end of June 2012. In his first season, he kept the struggling Mallorca side from relegation, which was suffering from losing many first team players and who was ejected from the UEFA Europa League due to its poor financial situation. At the beginning of the 2011–12 season, on 27 September 2011, Laudrup resigned as manager following the firing of his assistant, Erik Larsen. Laudrup cited great frustration with Lorenzo Serra Ferrer, the club's director of football, leading to a bad work climate as the main reason for his resignation.
Swansea City
On 15 June 2012, Laudrup was appointed manager of Swansea City on a two-year contract, becoming the first Dane to manage in the Premier League. He made several new signings after arriving at Liberty Stadium, including Michu, Chico Flores, Pablo Hernández, Jonathan de Guzmán and Ki Sung-yueng. His first competitive match as Swansea manager came as an impressive 0–5 away win at Loftus Road against Queens Park Rangers.
At Swansea, Alan Tate said that Laudrup was considered to be the best player in training, despite being 48 years old. He has been commended for his choice of signings, most notably with Michu, who scored 22 goals in 2012 for Swansea after he signed him for a bargain €2.5 million from Rayo Vallecano. On 23 January 2013, he led Swansea into their first ever major cup final after defeating reigning European champions Chelsea 2–0 on aggregate over two legs in the League Cup semi-finals.
On 7 February 2013, Laudrup appointed former Danish international midfielder Morten Wieghorst as his assistant after previously signing him as a player when Laudrup was managing Brøndby. Laudrup would later say he "certainly" believes Wieghorst "can be manager" of Swansea, as "he has experience from Scottish football and is familiar with English football". On 24 February, Laudrup said he had no "ambition to become the manager" of a big club, because he could not "have done everything for 10 years" in management and then be fired "after nine months" for not winning any trophies. He also said it gave him "much more pleasure to see how well" he could do where he did not "have to win all the time".
On 24 February 2013, Laudrup won his first trophy with Swansea after his side beat Bradford City 5–0 to win the Football League Cup at Wembley. This was also Swansea's first major trophy in English football in the club's history.
Following Swansea's 1–0 win over Newcastle United on 2 March 2013 the club moved into eighth position in the top-half of the Premier League table, seemingly safe from relegation with 40 points and ten games left; Laudrup said he wanted Swansea to finish eighth, stating that "coming eighth [will be] like winning the league" for the club because he felt "the first seven spots" were already taken by Manchester United, Manchester City, Chelsea, Tottenham Hotspur, Arsenal, Liverpool and Everton. On 3 March, though he had said that his "intention" was "to stay" in south Wales for the next year, Swansea chairman Huw Jenkins said that the club were in the "process of looking for the next manager" of the club in case Laudrup did choose to leave the club.
On 8 March 2013, Laudrup signed a new contract with Swansea, keeping him at the club until 2015. Reports indicated that he agreed to a contract with a release clause in the region of £5 million, much like the release clause Brendan Rodgers agreed to when he signed a contract extension at the Liberty Stadium four months prior to joining Liverpool. On 10 May, however, he confirmed that his "intention" was to stay at Swansea "next season," saying that reports he wanted to leave Wales was "pure speculation."
On 4 February 2014, Laudrup was sacked by Swansea following a poor run of form which left the club two points clear of relegation. At the time of the decision, the team had lost six out of their last eight league games.
Lekhwiya
On 30 June 2014, Laudrup became the new manager of Qatar Stars League champions Lekhwiya after signing a one-year deal. He guided the Lekhwiya to a club-record Qatar Stars League and a Crown Prince Cup double in his first season. The club also qualified for the quarter-finals of the 2015 AFC Champions League during his reign. On 17 June 2015, Laudrup announced that he would not extend his contract, departing the club.
Al Rayyan
On 3 October 2016, Laudrup was unveiled as the new manager of Al Rayyan on a two-year contract, replacing Jorge Fossati. His first match in charge was on 15 October 2016, when Al Rayyan faced Al Sailiya in an away match in the league, with the match ending in a 1–1 draw.
Style of management and tactics
As assistant manager to Morten Olsen, the Denmark national team employed a 4–2–3–1 system with pacey wingers playing the pivotal role in attack. Laudrup learnt from Olsen and used the same tactical style with Brøndby, with the team becoming more attacking and focused on a short passing style. He continued to employ a similar tactical style when he joined Getafe, ushering a new brand of exciting and free-flowing attacking football to help the club to the Copa del Rey final. However, at Spartak Moscow, he could not adapt his formation and tactics to the Russian game, with the club unable to score enough goals per match.
As Mallorca manager, Laudrup inspired a team that lost a number of key players from relegation by playing an offensive game. In 2012, he joined Swansea City as manager, replacing Brendan Rodgers. Under Rodgers, Swansea were known to play a 4–3–3 approach with a lot of focus on passing, where the full-backs pushed up when in possession and the outfield players played a high tempo pressing game. Under Laudrup, the team began employing a 4–2–3–1 formation, becoming more attacking while retaining the passing and pressing game. He also signed a number of new players, primarily from La Liga, trying to bring the attacking style from Spain to Wales, which saw more goals scored. He said, "You can get a lot of quality for a reasonable amount in Spain right now."
Laudrup earned plaudits for maintaining their flowing, attacking brand of football and attractive, passing style of play throughout the season, which saw his side win the League Cup, after beating Bradford City a record 5–0 in the final. "You can't ask players to do things that Cristiano Ronaldo and Lionel Messi are doing, but you can ask the easy things," he said. "Sometimes the easiest things in football, a simple pass five or eight yards, can be the most effective. That, everybody can learn."
Outside of football
Personal life
Michael Laudrup is part of a family with three generations of footballers. His uncle was former Brøndby and Aberdeen manager Ebbe Skovdahl. He is the son of former Danish national team player Finn Laudrup. From his marriage with his first wife, Tina Thunø, Laudrup has a son, Mads. Mads has been the team captain of various Danish youth national teams since January 2005. Today, he is married with Siw Retz Laudrup, with whom he has two children, Andreas and Rebecca. Andreas was selected a part of the under-16 national team in March 2006.
Michael Laudrup has a younger brother, Brian Laudrup, who was also a footballer. Brian Laudrup is the record holder of Danish player of the year awards with four, and was rated by FIFA as the fifth-best player in the world in 1992. Brian Laudrup was in the Euro 92 Team of the Tournament and World Cup 98 Team of the Tournament. Brian was also known for his part in the Rangers squad which won nine consecutive titles in the 1990s. Brian was a part of the trophy-winning Danish national team at UEFA Euro 1992, but Michael did not play in that championship due to differences with the national team coach Richard Møller Nielsen and because he thought that the barring of Yugoslavia for political, rather than football, reasons was not just. In 2004, both the Laudrup brothers were named in the FIFA 100, a list of the 125 greatest living footballers chosen by Pelé as part of the celebration of FIFA's 100th anniversary.
Politics and business
Alongside his professional football career, Laudrup began importing Spanish wine to Denmark starting in 1993. Initially, the wine import was sort of a hobby, but business grew rapidly and today his company Laudrup Vin og Gastronomi has over ten employees, runs a Wine Academy and imports wines from all over the world.
In 2004, Michael Laudrup was one of the founders of CEPOS, a Danish classical liberal/free-market conservative think-tank.
Career statistics
Club
International
Scores and results list Denmark's goal tally first, score column indicates score after each Laudrup goal.
Managerial statistics
Honours
Player
Juventus
Serie A: 1985–86
Intercontinental Cup: 1985
Barcelona
La Liga: 1990–91, 1991–92, 1992–93, 1993–94
Copa del Rey: 1989–90
Supercopa de España: 1991, 1992
European Cup: 1991–92
UEFA Super Cup: 1992
Real Madrid
La Liga: 1994–95
Ajax
Eredivisie: 1997–98
KNVB Cup: 1997–98
Denmark
FIFA Confederations Cup: 1995
Individual
Danish Player of the Year (2): 1982, 1985
Don Balón Award – La Liga Best Foreign Player of the Year: 1991–92
ESM Team of the Year: 1994–95
FIFA XI (Reserve): 1996
FIFA World Cup All-Star Team: 1998
Best Foreign Player in Spanish Football in the last 25 years: 1974–1999
UEFA Golden Player (Greatest Danish Footballer of the last 50 Years): 2003
FIFA 100
Denmark's Best Player of All Time: 2006
Scandinavia Best Player Ever: 2015
Danish Football Hall of Fame
World Soccer The Greatest Players of the 20th century: The 100 Greatest Footballers of All Time
Manager
Brøndby
Danish Superliga: 2004–05
Danish Cup: 2002–03, 2004–05
Danish League Cup: 2005
Danish Supercup: 2002
Swansea City
Football League Cup: 2012–13
Lekhwiya
Qatar Stars League: 2014–15
Crown Prince Cup: 2014–15
Individual
Danish Manager of the Year: 2002–03, 2004–05
Qatar Stars League Manager of the Month: August 2014, December 2014
Orders
Order of the Dannebrog: 2000
Films
Jørgen Leth, "Michael Laudrup – en fodboldspiller", Denmark, 1993
References
Sources
Further reading
Bruno Bernardi, "Michael Laudrup", Italy, 1986
Flemming Nielsen and Vagn Nielsen, "Fodboldkunstneren Michael Laudrup : rundt om en stjerne", Denmark, 1986
Michael Laudrup, "Mod nye mål", Denmark, 1989,
External links
1964 births
Living people
Sportspeople from Frederiksberg
Danish footballers
Association football midfielders
Association football forwards
Kjøbenhavns Boldklub players
Brøndby IF players
Juventus F.C. players
S.S. Lazio players
FC Barcelona players
Real Madrid CF players
Vissel Kobe players
AFC Ajax players
Danish 1st Division players
Serie A players
La Liga players
J1 League players
Japan Football League (1992–1998) players
Eredivisie players
UEFA Champions League winning players
Denmark youth international footballers
Denmark under-21 international footballers
Denmark international footballers
UEFA Euro 1984 players
1986 FIFA World Cup players
UEFA Euro 1988 players
1995 King Fahd Cup players
UEFA Euro 1996 players
1998 FIFA World Cup players
FIFA Confederations Cup-winning players
FIFA 100
FIFA Century Club
UEFA Golden Players
Danish expatriate footballers
Danish expatriate sportspeople in Italy
Danish expatriate sportspeople in Spain
Danish expatriate sportspeople in Japan
Danish expatriate sportspeople in the Netherlands
Expatriate footballers in Italy
Expatriate footballers in Spain
Expatriate footballers in Japan
Expatriate footballers in the Netherlands
Danish football managers
Brøndby IF managers
Getafe CF managers
RCD Mallorca managers
FC Spartak Moscow managers
Swansea City A.F.C. managers
Lekhwiya SC managers
Al-Rayyan SC managers
Danish Superliga managers
La Liga managers
Russian Premier League managers
Premier League managers
Qatar Stars League managers
Danish expatriate football managers
Danish expatriate sportspeople in Russia
Danish expatriate sportspeople in Wales
Danish expatriate sportspeople in Qatar
Expatriate football managers in Spain
Expatriate football managers in Russia
Expatriate football managers in Wales
Expatriate football managers in Qatar
Danish knights | false | [
"Joseph Start (October 14, 1842 – March 27, 1927), nicknamed \"Old Reliable\" or \"Rocks\", was one of the most durable regulars of baseball's earliest era, and one of the top first basemen of his time. He began his playing career in 1859, before the formation of organized leagues and before ballplayers received payment for their services. He continued to play regularly until 1886, when he was 43. Start's career spanned countless innovations that transformed the game in fundamental ways, but he adjusted and continued to play at a high level for almost three decades. Baseball historian Bill Ryczek said that Start \"was the last of the pre–Civil War players to hang up his cleats.\"\n\nAmateur era\n\nThe New York City-born Start played first base for the amateur Enterprise Club of Brooklyn in 1859, before the advent of salaried ballplaying. The following year he joined the powerful Atlantic Club of Brooklyn, with whom he would remain through the 1870 season. The Atlantics were undefeated in 1864 and 1865. During this decade, unofficial payment for exceptional players became common and the practice was eventually legitimized.\n\nStart made a pivotal contribution to one of the most celebrated games of the late Amateur Era. The all-salaried Cincinnati Red Stockings had 81 consecutive wins across two seasons when they faced off against the Atlantics on June 14, 1870, at Brooklyn's Capitoline Grounds. After nine innings, the game was tied 5-5. The umpire ordered the teams to continue playing until the game was decided. In the top of the 11th, Cincinnati scored twice to take the lead, 7-5. In the bottom of the 11th, Atlantics third baseman Charlie Smith singled. Start then hit a booming triple, driving in Smith. Catcher Bob Ferguson drove in Start with a single to tie the game 7-7. Ferguson scored the winning run on a throwing error by Cincinnati shortstop George Wright on a hard-hit grounder by George Hall, ending the Red Stockings' legendary winning streak.\n\nIn an 1895 post-retirement interview with sportswriter Tim Murnane, Start revealed a little-known secret: “We wanted to stop playing when the score was five each, but [Cincinnati team leader] Harry Wright wouldn’t have it. You see, the Atlantics were playing on the co-operative plan, and another game meant $300 or $400 for each man.” Murnane confessed: “This was the first time I ever knew why the Brooklyn men left the field after the ninth inning, and I was present at the game.”\n\nProfessional era\n\nIn 1871, Start joined the new—and fully professional—National Association (NA), playing for the New York Mutuals and, at age 28, hitting a career-high .360, second highest on the team. He also hit the team's only home run that season. In 1873 he served as the Mutuals' field leader (a pre-managerial position) for 25 games.\n\nThe NA failed after five years. When the National League (NL) was formed in 1876, the Mutuals joined, and Start remained with the team. However, the Mutuals were a poor team in 1876, and after refusing to finish their season schedule because of a financial shortfall, they were expelled from the NL. The following year Start joined the Hartford Dark Blues, and in 1878 moved over to the Chicago White Stockings. 1878 was possibly Start's best season with the bat. He led the league with 100 hits and 125 total bases. He came close to the league lead with 12 doubles, 5 triples, and one home run. His 58 runs that year were second in the league. These statistics came in only 285 at bats, and at the age of 35, long after most players have begun to decline. \n\nFrom 1879 until 1885, when he was 42, Start held down first base for the Providence Grays and continued to hit well; he also served as team captain, a role that provided field leadership before the establishment of team managers. Start's 1879 Providence team won the NL flag, and in 1884 they won what is considered the first inter-league championship, beating the New York Metropolitans of the American Association.\n\nAfter Providence left the NL following the 1885 season, in 1886 Start signed with the Washington Nationals for what proved to be his final season. He only played 31 games for the Nationals, did not hit well, and retired from professional play. After this final sub-par season, his lifetime Major League batting average dipped below .300, to .299. For the final nine seasons of Start's career, he was the oldest player on any major league roster. Start played the final game of his professional career on July 9, 1886.\n\nOver his full major league career Start amassed 1,418 hits, 854 runs, and 544 RBI in NL and NA play. He logged a .299 batting average, a .322 on-base percentage, and a .367 slugging percentage. These totals do not include his first twelve pre-league years, during which cumulative player statistics were not recorded. In addition, since Start's lifetime totals were achieved in much shorter seasons than today's professionals play, they tend to under-represent his sustained quality as a ballplayer.\n\nLegacy\n\nBill Ryczek wrote: \"There have been a number of 20th-century players who had long careers, but the game that Tommy John played during his [1963] rookie year was very much like the game he played during his final season in 1989. When 16-year-old Joe Start began playing in 1859, pitchers threw underhand with a stiff wrist from behind a line 45 feet from home plate, a fly ball caught on one bounce was an out, and gloves were unheard of, as were professional ballplayers. During his final season, pitchers threw over-hand or sidearm with velocity that was unimaginable in 1859. The one-bounce out was 20 years in the grave, and most players wore fielding gloves. All of the top players were professionals, and baseball had become big business, far removed from the amateur affair of 1859. Despite the dramatic changes in the game of baseball, Joe Start remained a steady, productive player, adapting to the changes as quickly as they appeared. He was a regular until his final year.\"\n\nWriting at 19cBaseball.com, early game historian Eric Miklich asserted that \"Start was reported to be an excellent fielder and may have been the first first baseman to play off of the bag when not receiving a throw, enabling him to increase the area of the infield that he covered. At that time first basemen played close to or on top of the base, waiting to take throws from the infielders.\"\n\nAlthough born in an era when baseball was an amateur leisure pursuit, had no press coverage, and was little-known outside of New York City, Start lived long enough to see the worldwide popularity of slugger Babe Ruth's exploits during the 1920s.\n\nPost-baseball life\n\nAfter his retirement from the game, Start returned to Rhode Island and operated the Hillside Hotel, near Pawtuxet, and later the Lakewood Inn, in Warwick. His wife, Angeline, died in February, 1927, and Start died one month later, in Providence, Rhode Island, at age 84.\n\nExternal links\n\nReferences\n\nMajor League Baseball first basemen\nBrooklyn Enterprise players\nBrooklyn Atlantics (NABBP) players\nHartford Dark Blues players\nNew York Mutuals players\nChicago White Stockings players\nProvidence Grays players\nNew York Mutuals managers\nBaseball players from New York (state)\nBaseball player-managers\n19th-century baseball players\n1842 births\n1927 deaths",
"Robert Charles Shirley (born June 25, 1954) is a former professional baseball pitcher. He played all or part of eleven seasons in Major League Baseball, from 1977 to 1987, for the San Diego Padres, St. Louis Cardinals, Cincinnati Reds, New York Yankees and Kansas City Royals. Shirley was a southpaw pitcher who worked both as a starter and in relief.\n\nAmateur career \nShirley was originally drafted out of Putnam City High School in 1972 by the Los Angeles Dodgers, but chose to attend the University of Oklahoma. While there, he was a member of the gold medal-winning Team USA at the 1974 Amateur World Series, the predecessor to today's Baseball World Cup. He was drafted again in 1975 by the San Francisco Giants, but did not sign, instead waiting until the following January, when he was drafted in the secondary phase by the Padres.\n\nProfessional career\n\nPadres \nShirley skipped several levels of minor league baseball, being assigned directly to the Double-A Amarillo Gold Sox to start the 1976 season. After posting a win–loss record of 9–5 with a 3.32 ERA in 16 starts, he was promoted to the Triple-A Hawaii Islanders, finishing the season there. It would be the last time Shirley played in the minors until 1987.\n\nShirley was named to the Padres' starting rotation to open the 1977 season. He posted what turned out to be one of his best seasons in his rookie year, setting what would be career highs in wins (12), games started (35), innings pitched (214) and strikeouts (146). It was also his only year as a full-time starter, as he never started more than 25 games in a season after 1977.\n\nShirley started the 1978 season in the Padres' rotation as their number two starter after future Hall of Famer Gaylord Perry. Although he pitched occasionally in relief, he remained in the rotation until July, when he was moved to the bullpen after a start in which he gave up six runs on seven hits and five walks in six innings. He made only one start the rest of the year.\n\nAfter spending two more seasons as a swingman for the Padres, Shirley was part of an eleven-player trade which sent him to the Cardinals along with ace reliever Rollie Fingers, veteran catcher Gene Tenace and minor league catcher Bob Geren for a package of prospects and role players.\n\nCardinals and Reds \nOver the course of the next two seasons, Shirley's role remained the same. After spending one season in St. Louis, he was traded during spring training 1982 to the Reds for a pair of prospects, one of whom was reliever Jeff Lahti. He became a free agent after the season, and was signed by the Yankees.\n\nYankees \nDuring Shirley's first season with the Yanks, he was used mostly as a starter for the first time since 1979. He started the second game of the season on April 6 after Ron Guidry's Opening Day start, but after giving up 4 runs in 2.2 innings, he did not pitch again for nearly two weeks. In his next start, which came on April 27, he pitched his first shutout in nearly four years. Despite this, he finished the year with an ERA above 5 (5.08) for the first time in his career, and also pitched the fewest innings of his career (108) outside the strike-shortened 1981 season.\n\nThrough the remainder of Shirley's career with the Yankees, he was primarily used as a long reliever, starting just 22 out of the 140 games in which he appeared from 1984 to 1987. His Yankee career came to an abrupt end in June 1987, when Shirley was involved in an incident of clubhouse roughhousing with Don Mattingly that resulted in Mattingly ending up on the disabled list. He was released shortly thereafter.\n\nLater career \nAfter his release on June, Shirley signed with the Royals eight days later. His tenure with Kansas City was disastrous, as he appeared in just three games, pitching 7.1 innings and giving up 12 runs, including five home runs, for an ERA of 12.73. The Yankees re-signed him to a minor league contract, and he finished the season with their Triple-A farm club, the Columbus Clippers. After playing in the Toronto Blue Jays farm system in 1988, Shirley retired. Shirley became a pitching coach and manager in the Blue Jays minor league system taking over for Galen Cisco mid season when he was called up to the Blue Jays\n\nReferences\n\nExternal links\n\nMajor League Baseball pitchers\nSan Diego Padres players\nSt. Louis Cardinals players\nCincinnati Reds players\nNew York Yankees players\nKansas City Royals players\nAmarillo Gold Sox players\nHawaii Islanders players\nColumbus Clippers players\nSyracuse Chiefs players\nOrlando Juice players\nBaseball players from Oklahoma\n1954 births\nLiving people\nMinor league baseball managers\nPeople from Cushing, Oklahoma"
]
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[
"Michael Laudrup",
"Early career",
"What did Michael Laudrup accomplish?",
"contributing to the promotion of Brondby to the 1st Division.",
"When was Michael born?",
"I don't know.",
"What was the start of his career?",
"Laudrup made his senior debut in 1981, and made his debut for the Danish under-19 national team in February 1981."
]
| C_907acbafa04846529c2980d19bfbb694_1 | What did you find most interesting about Michael? | 4 | What did you find most interesting about Michael Laudrup? | Michael Laudrup | Laudrup made his senior debut in 1981, and made his debut for the Danish under-19 national team in February 1981. In all, he scored a combined total of 14 goals in 25 games at various youth levels. He went back to play for Brondby in 1982, where his father had ended his career in 1981, contributing to the promotion of Brondby to the 1st Division. At Brondby, Laudrup scored two goals in the club's 1st Division debut game, as fellow promoted team Boldklubben 1909 were beaten 7-1. He scored 15 league goals in 1982, and ended the season as the third top goal scorer of the 1st Division. His accomplishments earned him the 1982 Danish Player of the Year award. He played part of the 1983 season for Brondby, and scored nine goals, before he was sold to defending Serie A champions Juventus from Italy in June 1983. It was the biggest transfer deal in Danish football at the time, worth around $1 million. He was due to sign for Liverpool the same year on a three-year contract, but at the last minute, Liverpool proposed a four-year contract and Laudrup opted not to sign. Under restriction of a maximum of two foreign players in the team, of which the club had Polish midfielder Zbigniew Boniek and Michel Platini, Juventus initially lent Laudrup to newly promoted Rome club Lazio for a single season, something he had not been informed about before signing for Juventus. With Lazio, he scored two goals in his Serie A debut, a 2-4 loss to Hellas Verona. In his first year at Lazio, Lazio narrowly avoided relegation, but as Juventus wanted to keep Boniek and Platini, he stayed for another year. Lazio started the 1984-85 season poorly, eventually finishing in last place to become relegated to Serie B. Laudrup scored just one goal that season. Laudrup returned to Juventus in summer 1985 to replace Zbigniew Boniek, playing alongside Michel Platini. In his first year at the club, he won the 1985-86 Serie A as well as the Intercontinental Cup trophy, scoring the equalising goal in the final of the latter tournament, although he later missed a penalty in the resulting shoot-out; he was once again named Danish Player of the Year in 1985. However, the following season was no success for Laudrup, who suffered multiple injuries, much like the majority of Juventus players, including Platini. When Platini retired in 1987, Laudrup was expected to lead the team in his place, playing alongside newly bought Welsh forward Ian Rush. But Laudrup failed to live up to Platini's standards and did not score any goals, despite playing all 30 matches of the 1987-88 season. CANNOTANSWER | It was the biggest transfer deal in Danish football at the time, worth around $1 million. | Michael Laudrup (, born 15 June 1964) is a Danish professional football coach and former player. He is the older brother of fellow retired footballer Brian Laudrup. He is widely regarded as one of the greatest players of all time.
During his playing career, Laudrup won league titles with Ajax, Barcelona, Real Madrid and Juventus, playing mainly as an attacking midfielder, although he was also capable of playing in other offensive positions. A world class playmaker, he was a member of Johan Cruyff's "Dream Team" at Barcelona, where he won nine trophies, including four successive La Liga titles from 1991 to 1994 and the European Cup in 1992. Laudrup moved to arch-rivals Real Madrid in 1994, with whom he won his fifth La Liga title in a row.
Laudrup made his debut for the Denmark national team on his 18th birthday in 1982, and scored 37 goals in 104 appearances. He starred in the 1986 FIFA World Cup, and from November 1994, he captained Denmark for a total of 28 matches, including the victorious 1995 Confederations Cup tournament. He played alongside his brother Brian in the Denmark team that reached the quarter-finals of the 1998 World Cup, and retired as an active player after the tournament.
In 1999, Laudrup was voted the Best Foreign Player in Spanish Football over the preceding 25-year period and in April 2000 he was knighted, receiving the Order of the Dannebrog. In November 2003, to celebrate UEFA's Jubilee, he was selected as the Golden Player of Denmark by the Danish Football Union, their most outstanding player of the past 50 years. He was officially named the best Danish footballer of all time by the Danish Football Union (DBU) in November 2006. He was named by Pelé in the FIFA 100 list of the world's greatest living players at a FIFA awards ceremony in 2004. In April 2013, he was named by Marca readers in the "Best foreign eleven in Real Madrid's history".
On 16 October 2021, at a show celebrating the National Olympic Committee and Sports Confederation of Denmark's 125th anniversary, 125 candidates for the title of the greatest ever Danish sports star had been reduced to eight, and Laudrup was named the winner.
After retiring as a player, Laudrup took up coaching, and became assistant manager of the Denmark national team. He got his first manager job at former club Brøndby in 2002, whom he guided to the 2005 Danish Superliga championship. He chose not to extend his contract with Brøndby in May 2006. He took over as coach of Getafe and had notable success there. He brought the club comparative success in the Copa del Rey and UEFA Cup, and the team's attacking style received plaudits. On 15 June 2012, Laudrup was appointed the manager of Premier League club Swansea City on a two-year contract. In his first season in south Wales, he won the League Cup, the first major English trophy in Swansea's 100-year history. On 4 February 2014, he was sacked by Swansea after a "significant" slump in the Premier League, leaving them two points above the relegation zone. Laudrup then managed Qatari clubs Lekhwiya and Al Rayyan between 2014 and 2018.
Club career
Born in Frederiksberg, Copenhagen, Michael Laudrup began playing football in father Finn Laudrup's childhood club Vanløse. When Finn Laudrup became player/coach of Brøndby IF in 1973, the family moved to Brøndby and both Michael and his brother Brian Laudrup started playing for the club as well. Michael followed his father to the top-flight Danish 1st Division club Københavns Boldklub in 1976, while Brian remained at Brøndby.
Early career
Laudrup made his senior debut playing for KB (Kjøbenhavns Boldklub) in 1981, and made his debut for the Danish under-19 national team in February 1981. In all, he scored a combined total of 14 goals in 25 games at various youth levels. He went back to play for Brøndby in 1982, where his father had ended his career in 1981, contributing to the promotion of Brøndby to the 1st Division.
At Brøndby, Laudrup scored two goals in the club's 1st Division debut game, as fellow promoted team Boldklubben 1909 were beaten 7–1. He scored 15 league goals in 1982, and ended the season as the third top goal scorer of the 1st Division. His accomplishments earned him the 1982 Danish Player of the Year award. He played part of the 1983 season for Brøndby, and scored nine goals, before he was sold to defending Serie A champions Juventus from Italy in June 1983. It was the biggest transfer deal in Danish football at the time, worth around $1 million. He was due to sign for Liverpool the same year on a three-year contract, but at the last minute, Liverpool proposed a four-year contract and Laudrup opted not to sign.
Under restriction of a maximum of two foreign players in the team, of which the club had Polish midfielder Zbigniew Boniek and Michel Platini, Juventus initially lent Laudrup to newly promoted Rome club Lazio for a single season, something he had not been informed about before signing for Juventus. With Lazio, he scored two goals in his Serie A debut, a 2–4 loss to Hellas Verona. In his first year at Lazio, Lazio narrowly avoided relegation, but as Juventus wanted to keep Boniek and Platini, he stayed for another year. Lazio started the 1984–85 season poorly, eventually finishing in last place to become relegated to Serie B. Laudrup scored just one goal that season.
Laudrup returned to Juventus in summer 1985 to replace Zbigniew Boniek, playing alongside Michel Platini. In his first year at the club, he won the 1985–86 Serie A as well as the Intercontinental Cup trophy, scoring the equalising goal in the final of the latter tournament, although he later missed a penalty in the resulting shoot-out; he was once again named Danish Player of the Year in 1985. However, the following season was not a success for Laudrup, who suffered multiple injuries. When Platini retired in 1987, Laudrup was expected to lead the team in his place, playing alongside newly bought Welsh forward Ian Rush. But Laudrup failed to live up to Platini's standards and did not score any goals, despite playing all 30 matches of the 1987–88 season.
Barcelona
After an unsuccessful season with Juventus, Laudrup decided it was time to leave, looking for a new experience after six years in Italy. In 1989, he joined Spanish club Barcelona on the premise that Netherlands coach Johan Cruyff, his childhood role model, had been assembling a team that was striving for success. Immediately, Laudrup enjoyed major success under Cruyff's leadership, citing the Dutchman's philosophy and perception of the game as one of the main assets that helped foster his talent. He was one of the restricted three foreign players allowed in the team, alongside Dutch defender Ronald Koeman and Bulgarian striker Hristo Stoichkov, who were the pillars of the Barça "Dream Team", along with rising stars Pep Guardiola, José Mari Bakero, and Txiki Begiristain.
The Dream Team played attractive football that was comparable to the 1970s Ajax team, and won four consecutive La Liga championships from 1991 to 1994, as well as the 1991–92 European Cup, along with the 1992 UEFA Super Cup, 1989–90 Copa del Rey and 1991 and 1992 Supercopa de España titles. Laudrup was twice named the best player of the year in Spain during his Barcelona years. When Barça hired a fourth foreign star player, Brazilian striker Romário in 1993, it meant the four foreigners would rotate as the three foreign players allowed in each match, and when he was not selected for the 1994 European Cup final 0–4 loss to Milan (amid conflicts with Cruyff), his time at Barcelona was effectively over. After the match, Milan's manager Fabio Capello remarked: "Laudrup was the guy I feared but Cruyff left him out, and that was his mistake."
Laudrup's departure from Barcelona was a huge blow for the fans and his teammates alike. Pep Guardiola was reportedly so upset by the news that he cried and begged Laudrup to change his mind. Reflecting on his time at Barcelona, Laudrup commented, "I think we played some very good football, and I think most of all we demonstrated that even without getting the ten best players in the world, you can have the best team. Because everybody talked about Begiristain, Bakero, Guardiola, Stoichkov, and Koeman, but when we started none of us was a best player, then we became maybe the best team in the world, together with AC Milan in that period."
Real Madrid
In 1994, Laudrup completed a controversial move from Barça to Real Madrid after he fell out with Johan Cruyff. On this, Laudrup stated he did not have a hidden agenda. It was the year after the 1994 FIFA World Cup and according to him, because players usually suffer a drop in performance after such a major international tournament, he correctly predicted that Barcelona would not win major trophies the following season.
Despite widespread belief Laudrup joined arch-rivals Real Madrid in an attempt to "get back" at Cruyff, the decision was based on the fact Real Madrid had been struggling for a long period and were eager to return to supremacy, like Barcelona when he decided to join them. Laudrup said, "People say I wanted to go to Real Madrid just to get revenge. I say revenge from what? I've had a perfect time; five fantastic years here [at Barcelona]. I went to Madrid because they were so hungry to win, and they had four or five players who went to the World Cup. I said this would be perfect; new coach, new players, and hungry to win." On 5 November 1994, he assisted Raúl's first professional goal in a 4–2 win over Atlético Madrid
Laudrup went on to guide Real Madrid in a championship-winning season that would end the Barça stranglehold, making him the only player ever to win the Spanish league five times in a row playing for two different clubs. After the initial success at Real, a lacklustre season would be in store for the club. Despite only playing two seasons at Real Madrid, he was voted the 12th-best player in Real Madrid history in an internet survey by Spanish newspaper Marca when the club celebrated its 100th anniversary in 2002. While playing with Barcelona, he participated in the 5–0 victory over rivals Real Madrid in the 1993–94 season. The following season while playing for Real Madrid, he aided in the revenge beating Madrid gave Barça, the final score also ending 5–0. Daniel Storey wrote of Laudrup, "no other player is loved on both sides of the clásico divide quite like Laudrup" as he remains held in high regard by both Barça and Madrid fans. Following the match, Laudrup's former Barcelona manager Cruyff commented: "When Michael plays like a dream, a magic illusion, determined to show his new team his extreme abilities, no one in the world comes anywhere near his level."
Later career and retirement
In 1996, Laudrup left Real Madrid to play for Vissel Kobe in Japan. On 18 August 1996, he played his first match for Vissel Kobe and scored two goals in a 4–2 win against Brummell Sendai. He helped Vissel to promotion from the second-tier Japan Football League to the J1 League. He was registered as a player in Bosnian Premier League club Čelik Zenica in a controversial signing in which he did not play any games for Čelik, but was signed as a player. After the details were resolved, he ended his playing career in a championship winning season at Dutch side Ajax in 1998.
Following his retirement, Laudrup sometimes turned out to play for Lyngby's Old Boys team in his spare time.
International career
Laudrup was called up for the Denmark national team during Brøndby's debut season in the top-flight. On his 18th birthday on 15 June 1982, he became the then-second-youngest Danish national team player ever, following Harald Nielsen. Despite playing for relegation battlers Lazio, Laudrup starred for the Denmark national team at UEFA Euro 1984, playing all four of Denmark's matches.
Laudrup participated in the 1986 FIFA World Cup in Mexico, a performance which is best remembered for his exceptional solo dribble and goal in the 6–1 defeat of Uruguay. He was also a part of the disappointing Denmark squad at Euro 1988, though Laudrup experienced personal success, scoring one of Denmark's two goals.
Following three matches in the qualification campaign for Euro 1992, Laudrup opted to quit the national team in November 1990 (alongside his brother Brian Laudrup and Jan Mølby) following differences with coach Richard Møller Nielsen. The Danes originally failed to qualify but were later given Yugoslavia's place as Yugoslavia were disqualified due to war in their country. Notwithstanding their qualification, Laudrup rated Denmark's chances of success so low he stayed on holiday. However, Denmark caused one of the biggest upsets in football history by going on to win the tournament, beating holders the Netherlands in the semi-final and, in the final beating reigning world champions and favourites Germany, with a 2–0 win thanks to goals from John Jensen and Kim Vilfort.
Laudrup returned to Nielsen's Danish squad in August 1993, but saw Spain and the Republic of Ireland qualify for the 1994 World Cup ahead of Denmark. He scored a goal in the 2–0 victory against Argentina, as Denmark won the 1995 Intercontinental Cup. He also scored four goals in ten matches as Denmark qualified for Euro 1996.
Laudrup's last matches for Denmark came at the 1998 World Cup, when he captained the nation to the quarter-final. Laudrup made his 100th appearance for Denmark in the team's opening game of the tournament, a 1–0 defeat of Saudi Arabia in Lens. Denmark was defeated 2–3 by Brazil in the quarter-finals, and both Michael and Brian Laudrup announced their international retirement following the elimination. Both brothers ended their international careers on a high note as both Michael and Brian were named in FIFA's All-Star Team.
Player profile
Style of play
A quick, intelligent and talented midfielder, known for his pace on the ball, Laudrup is regarded as one of the most effective and versatile attacking midfielders, as well as one of the most skilful and elegant players in the history of the game. Although primarily an offensive playmaker, he was capable of playing in several positions in or behind the front-line, and was even deployed as a winger, as a central midfielder or deep-lying playmaker, or as a second striker on occasion, in particular in his youth, or even as a forward or striker on rarer instances; he was also used as a centre-forward on occasion under his Barcelona manager Johan Cruyff, a role which was similar to that of the modern false 9 role. Laudrup is considered by many in the sport as one of the best passers of all time, and as one of the most technically accomplished players ever.
Regarding Laudrup's vision and passing ability, his brother Brian stated in 2008: "My brother started as an attacker but became an elegant attacking midfielder, perhaps the most complete there has ever been. His vision, speed of thought and passing were on a different level; he always knew what was going to happen before anybody else did. If anyone had a 'football brain', it was him." Despite being primarily a creative team player, he also possessed an accurate shot, and was capable of scoring goals as well as creating them.
Nicknamed "The Prince of Denmark," throughout his career, Laudrup was acclaimed for his technique, balance, elegance, ball control, and dribbling ability, as well as his vision, ability to read the game, and range of passing, including deep passes, through balls, and crosses, which made him an excellent assist provider. In regard to his vision, Jorge Valdano, the Argentinian coach of Laudrup in Real Madrid, said, "[H]e has eyes everywhere." His trademark move – looking one way and passing the other – fooled countless opponents during his career.
The Laudrup dribble, a signature feint also known as the croqueta, was perhaps the best-known part of his game, and involved him quickly moving the ball from one foot to the other away from the defender, a move which was later also popularised by later Barcelona midfielder Andrés Iniesta. Laudrup's ball skills and feints were combined with creativity, which he used to get past defenders in one on one situations. This led to the expression "Made in Laudrup" being coined in the Spanish football media, which was widely used in Spain to describe his trademark assists, in particular his lobbed passes, as well as his unique play. According to a 2018 article by Josh Butler of The Athletic and These Football Times, several of Laudrup's teammates said of his creative style of play: "Just run, he will always find a way of passing you the ball."
Reception
Throughout his career, Laudrup was often ranked among the best players in the world, with the French three-time European footballer of the year award winner Michel Platini describing him as one of the most talented players ever, only lamenting his lack of selfishness causing him to score too few goals. In a 2006 interview, Laudrup's Real Madrid teammate Raúl called him the best player he had ever played with, a view echoed by his Barcelona teammate Romário, who opined that he was able to create and score goals almost at will, and ranked him the fourth-best player in the history of the game (behind Pelé, Diego Maradona and himsel). Luís Figo instead labelled Laudrup as arguably the best opponent he had ever faced. Ronald Koeman rated Laudrup as "possibly the most skillful and elegant player [he] ever played with," adding: "Few could dribble like he could. He could sense when a game was ready to be seized and transformed by a moment of individual brilliance." Roberto Galia stated in 2008: "I have played against Maradona, Platini and Baggio. But the player I saw do the most indescribable things was Michael Laudrup." Former teammate Guillermo Amor said: "I have never seen a better player in one-on-ones. He was our special player."
Thierry Henry named Laudrup as the best player he had never played with, saying he did not know any better passer than him and "the world of football did not give him the credit that guy [Laudrup] deserved." John Toshack ranked Laudrup as "the best player of his generation," likening him to Cruyff both as a player and a manager, a view shared by Franz Beckenbauer, who dubbed Laudrup the best player of the 90s. Javier Clemente once stated: "To me, Michael Laudrup is the most genius player the world has ever seen. He will always be my numero uno. Always." José Mari Bakero instead remarked: "No one has given the club [Barcelona] as much inspiration as Michael. We all look up to him. It is a privilege to have your day enriched by a genius." In 2012, Ian Rush described him as "an incredible player," who "probably had the most individual skill" he had ever seen. Daniel Storey of Planet Football stated in 2020 that he believed that Laudrup was one of the most underrated players of the previous 30 years, a view shared by Albert Ferrer, who stated in 2009: "Few people made me enjoy the game as much as Michael. Maybe he didn't get the media recognition he deserved, but he was so classy and a real thinker. A master of the blind pass and impossible through-balls and I will never forget his 'spoon' pass in a game against Osasuna. He lifted the ball right over the defence and Romario touched it in first time."
At Barcelona, Laudrup played alongside Hristo Stoichkov, who scored many goals from Laudrup's passes. Regarding Laudrup's ability to create chances for his teammates, he commented in his 2008 autobiography: "From more than hundred goals that I scored I'm sure that over 50 were assisted by Michael. To play with him was extremely easy. We found each other by intuition on the field and found common football language. Look at Ivan Zamorano. Laudrup went there (Real) and Zamorano is a goalscorer. Sometimes I envy Ivan for the passes he receives. Passes on foot after you accelerated. Few people understand football like the Danish player. He can only be compared with Maradona, Schuster or Roberto Baggio. They make things easy and find the right solutions. For them [it] is simple, for the opponent – unthinkable. Phenomenal! His only problem is his character. He is emotional and terribly reserved. This affects him a lot, because he takes everything personally – no matter if someone tells him something or decision that he does not agree. His relations with Cruyff were delicate because he couldn't take the critics. I listen to him but I don't care that much. For Michael this was fatal. He couldn't take it anymore so he left without a word." That same year, in an interview with FourFourTwo magazine, Stoichkov included Laudrup in his "Perfect XI," and labelled him as: "One of the best European players I've ever seen," and as a player who was "up there with the greats." He went on to describe him as: "An elegant, old-fashioned playmaker," who "did things few other footballers could do." In 2010, he instead said that "Laudrup was the greatest."
Another striker who benefitted from Laudrup's playmaking abilities was Real Madrid teammate Iván Zamorano, who called Laudrup "El Genio" ("The Genius," in Spanish) during Laudrup's time in the Spanish capital. Zamorano was going through a hard spell in Madrid, but when Laudrup arrived to assist his goals, Zamorano immediately became the top goalscorer of La Liga, winning the pichichi trophy; Zamorano himself credited Laudrup for his role in his increased goalscoring output, describing him as a "genius," while also commenting: "...The reason why I make so many goals is Laudrup." He also stated: "Michael was a magician and one of the greatest players ever. He was amazing in one-on-ones too. I always say that Laudrup had three eyes, not two like everyone else. As a forward, I had to be aware all the time, because he could make you a chance out of nothing and you had to be prepared for that moment." Andrés Iniesta, who became known for using Laudrup's signature dribbling move – the croqueta – rated Laudrup as the greatest player of all time.
Throughout his career, his number of assists were almost always the highest of his team. However, despite his talent and reputation as one of the most technically gifted and creative players of his generation, certain players, pundits and managers have questioned Laudrup's work rate, mentality, determination, and consistency throughout his career at times, in particular in his early career. His former Juventus teammate and admirer Michel Platini, for example, once said, "[Laudrup]'s the greatest player in the world, in training," also describing him as "one of the biggest talents ever," while also lamenting that he "never used his talent to its fullest during matches." His former Barcelona manager Johan Cruyff described him as "One of the most difficult players [he had] worked with," adding: "When he gives 80–90% he is still by far the best, but I want 100%, and he rarely does that." In 1998, he stated: "Had Michael been born in a poor ghetto in Brazil or Argentina with the ball being his only way out of poverty he would today be recognised as the biggest genius of the game ever. He had all the abilities to reach it but lacked this ghetto-instinct, which could have driven him there." At Swansea in 2012, Alan Tate commented: "He is still the best player in training at [age] 48 years." This was echoed by Swansea player Danny Graham: "Laudrup was the best player in training by a mile. It was unreal." In addition to his playing ability, Laudrup was known for his good conduct on the pitch and he never received a red card in his career.
Managerial career
Early years
After his playing career ended with Ajax, Laudrup became a coach at age 36 when he started serving as an assistant coach for the Denmark national team head coach Morten Olsen in 2000. The national team would play a 4–2–3–1 formation, depending on two fast wingers and with the aim to dominate games with a short-passing possession game. Together, they led Denmark to the knock-out stage of the 2002 World Cup.
Brøndby
After his success as Denmark assistant manager, Laudrup signed on as manager for Danish Superliga club Brøndby. As his assistant coach, he paired up with former Danish championship winning manager John Jensen, who had played alongside him in the Denmark national team. At the start of his reign, he proclaimed a tactical scheme close to that which Olsen and he had coached at the national team. He renovated the Brøndby team by letting a large contingent of older and experienced players leave, in favour of several new offensive players, and he also gave the chance to young talents from the club's youth scheme.
To ensure the defensive strength of the team, Laudrup signed proven national team player Morten Wieghorst. He began his reign as Brøndby manager by winning his first trophy in his managerial career, the 2002 Danish Supercup. In his first season as head coach, he guided the team to win the Danish Cup, after Brøndby beat Midtjylland 3–0 in the final and runners-up in the Danish Superliga. Laudrup's success led him to being voted and awarded the Danish Manager of the Year.
In the following season, he again finished the season runners-up to first place Copenhagen by just one point. However, he would not be denied in the 2004–05 season, where he finally led the team to the Danish Superliga title. In the same season, he also completed The Double after he won his second Danish Cup in four seasons. This saw him being given his second Danish Manager of the Year award. After finishing runners-up in the 2005–06 Danish Superliga, Laudrup announced that he, along with assistant Faxe Jensen, could not come to an agreement for a one-year contract extension that was offered by the club. The pair, after winning four trophies in four seasons, subsequently left Brøndby in June 2006.
Laudrup was associated with several new jobs, including becoming manager of former club Real Madrid and that he would replace Lars Lagerbäck as head coach of the Sweden national team.
In 2007, Brøndby decided to name a new lounge at the stadium "The Michael Laudrup Lounge", with Laudrup's approval. His success led him to being voted and awarded the Danish Manager of the Year.
Getafe
On 21 June 2007, Laudrup was linked to a move to Madrid-based La Liga club Getafe by sports newspaper Marca. This was confirmed on 9 July 2007. During his stay in Getafe, the club reached the final of the Copa del Rey, losing to Valencia, and the quarter-finals of the UEFA Cup, losing in extra time to Bayern Munich. During his tenure as successor to Bernd Schuster, he brought in a new brand of exciting and free-flowing attacking football to the club, bringing back memories of Laudrup as a player. His team, which was not one of the established powers in Spanish football, enjoyed comparative success. However, he performed only one season as manager, resigning in May 2008.
After Laudrup announced his departure from Getafe, he was linked with jobs at Barcelona, Valencia, Benfica, Chelsea, Blackburn Rovers, Panathinaikos, CSKA Moscow and West Ham United. He almost got the job at Panathinaikos, but according to Danish media, he wanted an option to allow him to leave if he received an offer from a Spanish club. This request was not accepted by the Greeks, who chose to hire Henk ten Cate instead.
Spartak Moscow
On 12 September 2008, it was officially announced that Laudrup had signed a one-and-a-half-year contract to manage Spartak Moscow, replacing Stanislav Cherchesov following his dismissal after a string of poor results. However, Laudrup started on a poor note, winning just one of his first four league matches. He was subsequently sacked on 15 April 2009, just seven months on the job, in the wake of Spartak's quarter-final 3–0 loss to Dynamo Moscow in the Russian Cup. The official statement from Spartak read, "From this point onwards, head coach Michael Laudrup has been relieved of his responsibilities because of unsatisfactory results."
On 22 October 2009, Spanish media announced Laudrup would be appointed as new manager of Spanish side Atlético Madrid, replacing the short and unsuccessful run of Abel Resino, following Atlético's 4–0 UEFA Champions League group stage defeat to Chelsea. However, Laudrup and Atlético were not able to agree on terms and the deal fell apart. The day after, on 23 October, Resino was sacked and Quique Sánchez Flores was appointed as coach as the side's second-choice.
Mallorca
In July 2010, Laudrup was appointed manager of Mallorca on a contract lasting until the end of June 2012. In his first season, he kept the struggling Mallorca side from relegation, which was suffering from losing many first team players and who was ejected from the UEFA Europa League due to its poor financial situation. At the beginning of the 2011–12 season, on 27 September 2011, Laudrup resigned as manager following the firing of his assistant, Erik Larsen. Laudrup cited great frustration with Lorenzo Serra Ferrer, the club's director of football, leading to a bad work climate as the main reason for his resignation.
Swansea City
On 15 June 2012, Laudrup was appointed manager of Swansea City on a two-year contract, becoming the first Dane to manage in the Premier League. He made several new signings after arriving at Liberty Stadium, including Michu, Chico Flores, Pablo Hernández, Jonathan de Guzmán and Ki Sung-yueng. His first competitive match as Swansea manager came as an impressive 0–5 away win at Loftus Road against Queens Park Rangers.
At Swansea, Alan Tate said that Laudrup was considered to be the best player in training, despite being 48 years old. He has been commended for his choice of signings, most notably with Michu, who scored 22 goals in 2012 for Swansea after he signed him for a bargain €2.5 million from Rayo Vallecano. On 23 January 2013, he led Swansea into their first ever major cup final after defeating reigning European champions Chelsea 2–0 on aggregate over two legs in the League Cup semi-finals.
On 7 February 2013, Laudrup appointed former Danish international midfielder Morten Wieghorst as his assistant after previously signing him as a player when Laudrup was managing Brøndby. Laudrup would later say he "certainly" believes Wieghorst "can be manager" of Swansea, as "he has experience from Scottish football and is familiar with English football". On 24 February, Laudrup said he had no "ambition to become the manager" of a big club, because he could not "have done everything for 10 years" in management and then be fired "after nine months" for not winning any trophies. He also said it gave him "much more pleasure to see how well" he could do where he did not "have to win all the time".
On 24 February 2013, Laudrup won his first trophy with Swansea after his side beat Bradford City 5–0 to win the Football League Cup at Wembley. This was also Swansea's first major trophy in English football in the club's history.
Following Swansea's 1–0 win over Newcastle United on 2 March 2013 the club moved into eighth position in the top-half of the Premier League table, seemingly safe from relegation with 40 points and ten games left; Laudrup said he wanted Swansea to finish eighth, stating that "coming eighth [will be] like winning the league" for the club because he felt "the first seven spots" were already taken by Manchester United, Manchester City, Chelsea, Tottenham Hotspur, Arsenal, Liverpool and Everton. On 3 March, though he had said that his "intention" was "to stay" in south Wales for the next year, Swansea chairman Huw Jenkins said that the club were in the "process of looking for the next manager" of the club in case Laudrup did choose to leave the club.
On 8 March 2013, Laudrup signed a new contract with Swansea, keeping him at the club until 2015. Reports indicated that he agreed to a contract with a release clause in the region of £5 million, much like the release clause Brendan Rodgers agreed to when he signed a contract extension at the Liberty Stadium four months prior to joining Liverpool. On 10 May, however, he confirmed that his "intention" was to stay at Swansea "next season," saying that reports he wanted to leave Wales was "pure speculation."
On 4 February 2014, Laudrup was sacked by Swansea following a poor run of form which left the club two points clear of relegation. At the time of the decision, the team had lost six out of their last eight league games.
Lekhwiya
On 30 June 2014, Laudrup became the new manager of Qatar Stars League champions Lekhwiya after signing a one-year deal. He guided the Lekhwiya to a club-record Qatar Stars League and a Crown Prince Cup double in his first season. The club also qualified for the quarter-finals of the 2015 AFC Champions League during his reign. On 17 June 2015, Laudrup announced that he would not extend his contract, departing the club.
Al Rayyan
On 3 October 2016, Laudrup was unveiled as the new manager of Al Rayyan on a two-year contract, replacing Jorge Fossati. His first match in charge was on 15 October 2016, when Al Rayyan faced Al Sailiya in an away match in the league, with the match ending in a 1–1 draw.
Style of management and tactics
As assistant manager to Morten Olsen, the Denmark national team employed a 4–2–3–1 system with pacey wingers playing the pivotal role in attack. Laudrup learnt from Olsen and used the same tactical style with Brøndby, with the team becoming more attacking and focused on a short passing style. He continued to employ a similar tactical style when he joined Getafe, ushering a new brand of exciting and free-flowing attacking football to help the club to the Copa del Rey final. However, at Spartak Moscow, he could not adapt his formation and tactics to the Russian game, with the club unable to score enough goals per match.
As Mallorca manager, Laudrup inspired a team that lost a number of key players from relegation by playing an offensive game. In 2012, he joined Swansea City as manager, replacing Brendan Rodgers. Under Rodgers, Swansea were known to play a 4–3–3 approach with a lot of focus on passing, where the full-backs pushed up when in possession and the outfield players played a high tempo pressing game. Under Laudrup, the team began employing a 4–2–3–1 formation, becoming more attacking while retaining the passing and pressing game. He also signed a number of new players, primarily from La Liga, trying to bring the attacking style from Spain to Wales, which saw more goals scored. He said, "You can get a lot of quality for a reasonable amount in Spain right now."
Laudrup earned plaudits for maintaining their flowing, attacking brand of football and attractive, passing style of play throughout the season, which saw his side win the League Cup, after beating Bradford City a record 5–0 in the final. "You can't ask players to do things that Cristiano Ronaldo and Lionel Messi are doing, but you can ask the easy things," he said. "Sometimes the easiest things in football, a simple pass five or eight yards, can be the most effective. That, everybody can learn."
Outside of football
Personal life
Michael Laudrup is part of a family with three generations of footballers. His uncle was former Brøndby and Aberdeen manager Ebbe Skovdahl. He is the son of former Danish national team player Finn Laudrup. From his marriage with his first wife, Tina Thunø, Laudrup has a son, Mads. Mads has been the team captain of various Danish youth national teams since January 2005. Today, he is married with Siw Retz Laudrup, with whom he has two children, Andreas and Rebecca. Andreas was selected a part of the under-16 national team in March 2006.
Michael Laudrup has a younger brother, Brian Laudrup, who was also a footballer. Brian Laudrup is the record holder of Danish player of the year awards with four, and was rated by FIFA as the fifth-best player in the world in 1992. Brian Laudrup was in the Euro 92 Team of the Tournament and World Cup 98 Team of the Tournament. Brian was also known for his part in the Rangers squad which won nine consecutive titles in the 1990s. Brian was a part of the trophy-winning Danish national team at UEFA Euro 1992, but Michael did not play in that championship due to differences with the national team coach Richard Møller Nielsen and because he thought that the barring of Yugoslavia for political, rather than football, reasons was not just. In 2004, both the Laudrup brothers were named in the FIFA 100, a list of the 125 greatest living footballers chosen by Pelé as part of the celebration of FIFA's 100th anniversary.
Politics and business
Alongside his professional football career, Laudrup began importing Spanish wine to Denmark starting in 1993. Initially, the wine import was sort of a hobby, but business grew rapidly and today his company Laudrup Vin og Gastronomi has over ten employees, runs a Wine Academy and imports wines from all over the world.
In 2004, Michael Laudrup was one of the founders of CEPOS, a Danish classical liberal/free-market conservative think-tank.
Career statistics
Club
International
Scores and results list Denmark's goal tally first, score column indicates score after each Laudrup goal.
Managerial statistics
Honours
Player
Juventus
Serie A: 1985–86
Intercontinental Cup: 1985
Barcelona
La Liga: 1990–91, 1991–92, 1992–93, 1993–94
Copa del Rey: 1989–90
Supercopa de España: 1991, 1992
European Cup: 1991–92
UEFA Super Cup: 1992
Real Madrid
La Liga: 1994–95
Ajax
Eredivisie: 1997–98
KNVB Cup: 1997–98
Denmark
FIFA Confederations Cup: 1995
Individual
Danish Player of the Year (2): 1982, 1985
Don Balón Award – La Liga Best Foreign Player of the Year: 1991–92
ESM Team of the Year: 1994–95
FIFA XI (Reserve): 1996
FIFA World Cup All-Star Team: 1998
Best Foreign Player in Spanish Football in the last 25 years: 1974–1999
UEFA Golden Player (Greatest Danish Footballer of the last 50 Years): 2003
FIFA 100
Denmark's Best Player of All Time: 2006
Scandinavia Best Player Ever: 2015
Danish Football Hall of Fame
World Soccer The Greatest Players of the 20th century: The 100 Greatest Footballers of All Time
Manager
Brøndby
Danish Superliga: 2004–05
Danish Cup: 2002–03, 2004–05
Danish League Cup: 2005
Danish Supercup: 2002
Swansea City
Football League Cup: 2012–13
Lekhwiya
Qatar Stars League: 2014–15
Crown Prince Cup: 2014–15
Individual
Danish Manager of the Year: 2002–03, 2004–05
Qatar Stars League Manager of the Month: August 2014, December 2014
Orders
Order of the Dannebrog: 2000
Films
Jørgen Leth, "Michael Laudrup – en fodboldspiller", Denmark, 1993
References
Sources
Further reading
Bruno Bernardi, "Michael Laudrup", Italy, 1986
Flemming Nielsen and Vagn Nielsen, "Fodboldkunstneren Michael Laudrup : rundt om en stjerne", Denmark, 1986
Michael Laudrup, "Mod nye mål", Denmark, 1989,
External links
1964 births
Living people
Sportspeople from Frederiksberg
Danish footballers
Association football midfielders
Association football forwards
Kjøbenhavns Boldklub players
Brøndby IF players
Juventus F.C. players
S.S. Lazio players
FC Barcelona players
Real Madrid CF players
Vissel Kobe players
AFC Ajax players
Danish 1st Division players
Serie A players
La Liga players
J1 League players
Japan Football League (1992–1998) players
Eredivisie players
UEFA Champions League winning players
Denmark youth international footballers
Denmark under-21 international footballers
Denmark international footballers
UEFA Euro 1984 players
1986 FIFA World Cup players
UEFA Euro 1988 players
1995 King Fahd Cup players
UEFA Euro 1996 players
1998 FIFA World Cup players
FIFA Confederations Cup-winning players
FIFA 100
FIFA Century Club
UEFA Golden Players
Danish expatriate footballers
Danish expatriate sportspeople in Italy
Danish expatriate sportspeople in Spain
Danish expatriate sportspeople in Japan
Danish expatriate sportspeople in the Netherlands
Expatriate footballers in Italy
Expatriate footballers in Spain
Expatriate footballers in Japan
Expatriate footballers in the Netherlands
Danish football managers
Brøndby IF managers
Getafe CF managers
RCD Mallorca managers
FC Spartak Moscow managers
Swansea City A.F.C. managers
Lekhwiya SC managers
Al-Rayyan SC managers
Danish Superliga managers
La Liga managers
Russian Premier League managers
Premier League managers
Qatar Stars League managers
Danish expatriate football managers
Danish expatriate sportspeople in Russia
Danish expatriate sportspeople in Wales
Danish expatriate sportspeople in Qatar
Expatriate football managers in Spain
Expatriate football managers in Russia
Expatriate football managers in Wales
Expatriate football managers in Qatar
Danish knights | false | [
"The Missing Head of Damasceno Monteiro () is a 1997 crime novel by the Italian writer Antonio Tabucchi. It is set in Porto, Portugal, and follows a murder investigation after a headless body has been found.\n\nReception\nMichael Pye of The New York Times called the novel \"a vivid book\" and wrote that Tabucchi \"writes with all his senses\". He noted how the book often reflects on subjects in ways conventional crime novels do not, and wrote: \"Much of this works very well, but you should be warned about Tabucchi's tendency to slam the door on the captive reader and start a seminar. ... You may sometimes want to snort with exasperation and send Tabucchi's book skirling across the room. But, then again, when did you last find a novel this interesting?\"\n\nSee also\n 1997 in literature\n Italian literature\n\nReferences\n\n1997 novels\nItalian crime novels\nNovels by Antonio Tabucchi\nNovels set in Portugal\n20th-century Italian novels",
"What Did You Expect? may refer to:\n\n What Did You Expect? (Jackie Martling album), 1979\n What Did You Expect? (Michael Cohen album), 1973\n \"What Did You Expect?\", a song by Neck Deep from Rain in July\n What Did You Expect? (film), 2012"
]
|
[
"Bush (British band)",
"The Science of Things (1999-2000)"
]
| C_b8d6ab4eaa0c4ea4b3195fe4b4af401e_0 | How did this album come about? | 1 | How did the album The Science of Things by Bush come about ? | Bush (British band) | Following the completion of touring, Rossdale went into seclusion in Ireland, where he worked on material for the group's next album. Rossdale periodically sent demo tapes of his works in progress to his bandmates. The group finally convened to record in London in August 1998, where the band reteamed with Sixteen Stone producers Clive Langer and Alan Winstanley. The release of The Science of Things was held up by a court battle between the band and Trauma Records. The case was settled in early 1999 and the album was finally released that October. The Science of Things was a major departure in several forms from Bush's first two albums. Like the multi-platinum successes of Bush's first two albums, this album also reached platinum status. Also, while the band's previous albums were strongly influenced by grunge, The Science of Things featured some electronic music influences in addition to the sound defined by Bush's earlier work. For example, although lead single "The Chemicals Between Us" had a prominent guitar riff, it also had many electronic elements usually found in dance music. Although the album had a few hit songs, it failed to chart in the top 10. The band's performance at Woodstock '99, however, helped The Science of Things achieve platinum status despite its slow start. Three singles were released from The Science of Things, most notably "The Chemicals Between Us", which spent five weeks at No. 1 on the Modern Rock Tracks and peaked at No. 67 on the US Hot 100."Warm Machine" was the second single released. "Letting the Cables Sleep," the third single, reached No. 4 on the Modern Rock Tracks and also received considerable airplay. CANNOTANSWER | Records. The case was settled in early 1999 and the album was finally released that October. | Bush are a British rock band formed in London, England in 1992. Their current lineup consists of lead vocalist and rhythm guitarist Gavin Rossdale, lead guitarist Chris Traynor, bassist Corey Britz, and drummer Nik Hughes.
In 1994, Bush found immediate success outside the UK with the release of their debut album, Sixteen Stone, which is certified 6× multi-platinum by the RIAA. They went on to become one of the most commercially successful rock bands of the 1990s, selling over 10 million records in the United States and 20 million records worldwide.
Despite their success in the US (especially in the mid-1990s), the band were considerably less popular in their home country and they have enjoyed only marginal success there.
Bush have had numerous top ten singles on the Billboard rock charts and one No. 1 album with Razorblade Suitcase in 1996. The band broke up in 2002 but reformed in 2010, and have released four albums since then: The Sea of Memories (2011), Man on the Run (2014), Black and White Rainbows (2017), and The Kingdom (2020).
History
Formation and Sixteen Stone (1992–1995)
After leaving his band Midnight, Gavin Rossdale met former King Blank guitarist Nigel Pulsford at a Wembley performance by Baby Animals supporting Bryan Adams in November 1991. The two musicians became friends over a shared appreciation for several artists, including Big Black, The Fall, Pixies, and The Velvet Underground. They formed a new band which they called Future Primitive. Describing the early sound of the group, one British record label executive said years later, "They weren't what they are today – they were a little like the more commercial side of INXS". To complete the lineup, the pair recruited bassist Dave Parsons, and drummer Robin Goodridge joined in mid-1993 shortly before Bush were signed. While still known as Future Primitive, the band released the song "Bomb", later to be featured on the band's debut, as a single through Rossdale's own Mad Dog Winston Records.
In 1993, the band was signed by Rob Kahane, who had a distribution deal with Disney's Hollywood Records. The band completed recording its debut album Sixteen Stone in early 1994. However, the death of Disney executive Frank G. Wells eliminated a supporter for Kahane, and executives at Hollywood deemed Bush's album unacceptable for release. Consequently, the bandmates took jobs performing menial labour. Interscope Records ultimately decided to release the album, and at the end of 1994, Kahane sent an advance copy of the album to a friend at influential Los Angeles radio station KROQ-FM, which added the song "Everything Zen" to its rotation.
On the Billboard charts (North America), Sixteen Stone peaked at No. 4 on the Heatseekers and Billboard 200 charts. The album spawned two Top 40 singles. After about six months of promotion for Sixteen Stone, the album began to sell well, once "Comedown" and "Glycerine" struck America. Additionally, "Little Things" and "Machinehead" both charted well in North America.
In Canada, the band were initially forced to release Sixteen Stone under the name BushX, as the 1970s Canadian band Bush still held the rights to the name Bush in the Canadian market. The dispute arose after the British band's lawyers threatened to intervene to prevent the Canadian band from reissuing its 1970 album, although it was entirely between the bands' lawyers as Rossdale and Domenic Troiano, the leader of the Canadian band, both expressed a willingness to negotiate a solution. In 1997, after the band's second album Razorblade Suitcase also bore the X, Rossdale and Troiano directly negotiated an agreement under which the British band were allowed to drop the X in exchange for donating $20,000 each to the Starlight Foundation and the Canadian Music Therapy Trust Fund. Both Sixteen Stone and Razorblade Suitcase were then reissued without the X.
Razorblade Suitcase (1996–1998)
In late 1996 Bush released the first single "Swallowed" from their second album titled Razorblade Suitcase. The song spent seven weeks on top of the Modern Rock Tracks chart. This was followed by single "Greedy Fly". The album hit number 1 in America and placed high in many European countries. Razorblade Suitcase featured American recording engineer Steve Albini, a move which was viewed negatively by critics. Albini had worked with Nirvana on their final studio album, In Utero, three years before. Bush later released the remix album Deconstructed. The album saw Bush re-arranging their songs into dance and techno stylings. The album went platinum less than a year after release.
The Science of Things (1999–2000)
Following the completion of touring, Rossdale went into seclusion in Ireland, where he worked on material for the group's next album, periodically sending demo tapes of his works in progress to his bandmates. The group finally convened to record in London in August 1998, where the band reteamed with Sixteen Stone producers Clive Langer and Alan Winstanley.
The release of The Science of Things was stymied by a court battle between the band and Trauma Records. The case was settled in early 1999 and the album was finally released that October. The Science of Things was a major departure in several forms from Bush's first two albums. Like the multi-platinum successes of Bush's first two albums, this album also reached platinum status. Also, while the band's previous albums were strongly influenced by grunge, The Science of Things featured some electronic music influences in addition to the sound defined by Bush's earlier work. For example, although lead single "The Chemicals Between Us" had a prominent guitar riff, it also had many electronic elements usually found in dance music. Although the album had a few hit songs, it failed to chart in the top 10.
The band's performance at Woodstock '99, however, helped The Science of Things achieve platinum status despite its slow start. Three singles were released from The Science of Things, most notably "The Chemicals Between Us", which spent five weeks at No. 1 on the Modern Rock Tracks and peaked at No. 67 on the US Hot 100. "Warm Machine" was the second single released. "Letting the Cables Sleep", the third single, reached No. 4 on the Modern Rock Tracks and also received considerable airplay, and appeared in an episode of the medical drama series ER.
Golden State and breakup (2001–2002)
In October 2001, now on the Atlantic Records record label, Bush released its next album, Golden State. While the album attempted to return to the simple, catchy sound of the band's debut, it failed to achieve the same commercial success as the band's previous releases. Several singles were released, most notably the hit "The People That We Love (Speed Kills)", but none were mainstream successes. The album was the band's least successful, selling only 380,000 copies in the US. "The People That We Love (Speed Kills)" was used in the game Need for Speed: Hot Pursuit 2. In January 2002, Pulsford retired after the release of Golden State to spend more time with his family. Chris Traynor filled in for him for the subsequent tour, which would turn out to be Bush's last for eight years. Due to declining record sales and a lack of support from Atlantic Records, Bush disbanded in 2002. In 2005, a greatest hits album called The Best of '94–'99 and a live album called Zen X Four were released.
Post-breakup (2003–2010)
Gavin Rossdale formed a new band, Institute, in 2004, serving as their lead vocalist and guitarist, just as in Bush. Chris Traynor also joined the band, as lead guitarist. In addition to playing in Institute, Traynor also joined the reunited metal band Helmet in 2004 on bass; he quit the band in 2006. Institute released one album, Distort Yourself, but failed to achieve much commercial success in spite of opening for U2's Vertigo Tour at some shows. Institute broke up in 2006 and Rossdale then embarked on a solo career. In 2007, he covered the John Lennon song "Mind Games" for the Lennon tribute album Instant Karma: The Amnesty International Campaign to Save Darfur. His first solo album, Wanderlust, supported by leading single "Love Remains the Same", was released in June 2008. Rossdale also ventured into acting, appearing in the films Zoolander, Little Black Book, The Game of Their Lives, Constantine, How to Rob a Bank and others.
Robin Goodridge recorded with the British rock band Elyss in 2004, although they have not released any new material since. In 2006, Goodridge began drumming for indie rock band Spear of Destiny, and appeared on their 2007 album, Imperial Prototype. During the summer of 2008, he toured the UK with British rock band Stone Gods after their current drummer Ed Graham reportedly fell ill. On 29 July it was announced that Graham had left the band and on 6 October 2008, the band's website announced that Goodridge had joined the band. Nigel Pulsford has spent most of his time since leaving Bush raising his children with his wife. In an interview with Blender, Gavin Rossdale admitted that the likelihood of a Bush reunion was "very high". He then added "quite high". In a November 2008 interview, Rossdale revealed that he had tried to contact the other members of Bush, "I reached out to them".
Reunion and The Sea of Memories (2010–2013)
On 22 June 2010, it was announced that Bush would play their first show in eight years at the second-annual Epicenter Music Festival in Fontana, California on 25 September 2010. A new album, then-titled Everything Always Now, was also announced as well as a new single "Afterlife". Founding members Nigel Pulsford and Dave Parsons both decided not to rejoin the band.
Pulsford's and Parsons' successors were Chris Traynor and Corey Britz respectively. Traynor had also stood in for Pulsford during the Golden State tour. The new line-up played seven shows in 2010, performing songs from Bush's previous four albums as well as a new song, "Afterlife".
Gavin announced on radio that their new album had been named The Sea of Memories and was released in September and managed to peak at No. 18 on the Billboard Top 200. The first single of the album, "The Sound of Winter" was released in July 2011 and reached number one on the Billboard Alternative Songs chart. On 19 November 2011, Bush performed a live set for "Guitar Center Sessions" on DirecTV. The episode included an interview with program host, Nic Harcourt. Their song "Into The Blue" was featured on The Avengers soundtrack album released on 1 May 2012. They toured with Nickelback on their Here and Now Tour.
Man on the Run (2014–2016)
On 26 March 2014, it was reported that Bush had begun recording their sixth studio album with producer Nick Raskulinecz. Gavin Rossdale announced on 18 August 2014 that the new album, Man on the Run, was available for pre-order in both digital and deluxe edition CD form. A day later, the band revealed that the lead single from the album would be "The Only Way Out". In November 2014 the band announced tour dates for the early months of 2015 beginning on 30 January. In June 2016, Bush released a music video for the new song "People At War".
Black and White Rainbows (2017–2019)
In January 2017, it was reported that Bush had mastered and completed work on their seventh studio album. On 6 February 2017, the band announced the title, release date of 10 March 2017, and track listing for their seventh studio album, Black and White Rainbows. The lead single from the album, "Mad Love", was released the same day.
On 2 April 2018 a tour of the United States of America, called Revolution 3 Tour, was announced for the summer. They performed as co-headliners with Stone Temple Pilots and The Cult.
Rossdale also revealed that he was working on some material called "heavier" than the recent productions in anticipation of a forthcoming band album.
The Kingdom (2019–present)
In May 2019, Bush set The Mind Plays Tricks on You as the title of their new studio album, tentatively due in early 2020.
Drummer Robin Goodridge departed from the band in 2019. With Goodridge's departure, Rossdale became the only original member of Bush remaining in the band.
On 10 May 2019, it was announced that a song, "Bullet Holes", would feature in the film John Wick: Chapter 3 – Parabellum. The song and music video were released on 17 May 2019. Rossdale claimed in late May that the new album, featuring songwriting from Tyler Bates, was influenced by Bush's presence on music festivals dominated by primarily metal bands, and that he had been specifically listening to System of a Down during the writing process for the new album.
On 3 March 2020 the band released a new single, "Flowers on a Grave" and announced their new album was re-titled The Kingdom. The album was released on 17 July 2020.
Musical style and influences
Bush have been described as post-grunge, grunge, alternative rock, and hard rock. One of the first bands to be described as post-grunge, Bush were labeled almost pejoratively as such. Matt Diehl of Rolling Stone described Bush as "the most successful and shameless mimics of Nirvana's music". In the book Fargo Rock City: A Heavy Metal Odyssey in Rural North Dakota, Chuck Klosterman wrote, "Bush was a good band who just happened to signal the beginning of the end; ultimately, they would become the grunge Warrant". In the book Accidental Revolution: The Story of Grunge, Kyle Anderson wrote about Bush's album Sixteen Stone, writing:
Bush have noted Nirvana's music as a key influence in their work, but remained insistent that their style is original. Talking to The Morning Call in February 1996, lead guitarist Nigel Pulsford remarked "Nirvana was a big influence. They acted as a catalyst, put the guitar band back in vogue and inspired us to perform". Of the similarities in the music of the two acts, Gavin Rossdale told Rolling Stone that he "hoped" there was an element of Nirvana in Bush but also that felt he "had [his] own thing". In 2011, Rossdale proclaimed Pixies as "the most influential band" to him. In addition, members of Bush have cited artists including The Beatles, Big Black, David Bowie, Bob Dylan, PJ Harvey, Hole, Hüsker Dü, Jane's Addiction, My Bloody Valentine, Led Zeppelin, Tom Petty, The Replacements, Sex Pistols, Smashing Pumpkins, Sonic Youth, Soul Asylum, Soundgarden, and Neil Young as influential or inspirational.
Band members
Current
Gavin Rossdale – lead vocals, rhythm guitar (1992–2002, 2010–present)
Chris Traynor – lead guitar (2002, 2010–present), backing vocals (2002)
Corey Britz – bass, backing vocals (2010–present)
Nik Hughes – drums (2019–present)
Former
Nigel Pulsford – lead guitar, backing vocals (1992–2002)
Dave Parsons – bass (1992–2002)
Robin Goodridge – drums (1993–2002, 2010–2019)
Touring musicians
Sacha Puttnam – keyboards, piano, backing vocals (2002)
Sibyl Buck – bass (2012, 2013)
Timeline
Discography
Sixteen Stone (1994)
Razorblade Suitcase (1996)
The Science of Things (1999)
Golden State (2001)
The Sea of Memories (2011)
Man on the Run (2014)
Black and White Rainbows (2017)
The Kingdom (2020)
Awards and nominations
American Music Awards
Grammy Awards
MTV Video Music Awards
MTV Movie Awards
References
External links
Allmusic entry
MTV biography
Atlantic Records artists
British post-grunge groups
English alternative rock groups
English grunge groups
Musical groups established in 1992
Musical groups disestablished in 2002
Musical groups reestablished in 2010
Musical groups from London
Sony Music Publishing artists
English hard rock musical groups
Musical quartets | true | [
"\"How Come U Don't Call Me Anymore?\" is a song by Prince. It is a ballad of romantic longing with some gospel elements. On his original recording of the song, which was released as the non-album B-side to his 1982 single \"1999\", Prince performs most of the song in his falsetto range, with his own bluesy piano playing providing the only instrumental accompaniment. The song's first album appearance was on his 1993 compilation The Hits/The B-Sides. It was later included on the soundtrack to the 1996 film Girl 6. Prince also performs the song on his 2002 live album One Nite Alone... Live!.\n\nArtists who have covered the song include Stephanie Mills (1983), Joshua Redman (1998), and Alicia Keys (2001). Bilal recorded the song which appears on his 2001 single \"Fast Lane\". Roger Cicero recorded the song with Soulounge for the 2004 album Home; a live version by Cicero is included on his 2008 single \"Alle Möbel verrückt\". American Idol season 11 finalist Jessica Sanchez performed the song on the American Idols LIVE! Tour 2012.\n\nAlicia Keys version\n\nKeys recorded a cover of the song—retitled \"How Come You Don't Call Me\"—for her debut album, Songs in A Minor (2001). It was released as the album's third and final US single and became a moderate chart success, reaching the top 30 in Australia, Hungary, the United Kingdom, and on the US Billboard Hot R&B/Hip-Hop Songs chart. She told Billboard Magazine, \"I had never heard [the original] before. They gave me a copy of the song on tape. I played it every day for three weeks. It is so raw and so truthful – I was just feeling it. It really came out well.\"\n\nAn official remix of the song, produced by the Neptunes, was included on the Remixed & Unplugged in A minor reissue, released in 2002. It features vocals from Justin Timberlake towards the end of the track.\n\nKeys' cover of \"How Come You Don't Call Me\" was inspired by a long-term relationship with a partner.\n\nMusic video\nThe song's music video, directed by Little X, contains references to Japanese popular culture such as San-X's Buru Buru Dog and Cardcaptor Sakuras Kero-chan, besides Korean character Mashimaro.\nIt starts with Keys waking up in the morning, and following her daily routine throughout the video, ending with a performance on stage. The video ends with a phone call from her supposed \"boyfriend\" making an excuse about why he hasn't called her, and she hangs up on him, laughing. The 'boyfriend' is played by actor-comedian Mike Epps.\n\nCritical reception\nMark Anthony Neal of PopMatters felt that the song was credible, but fell short from the original or Stephanie Mills's 1983 cover. Keys has said that Prince told her he loved her cover of the song.\n\nTrack listings and formats\nUK / Irish CD single & European promotional CD single\n \"How Come You Don't Call Me\" (Original Radio Version) – 3:31\t\n \"How Come You Don't Call Me\" (Neptunes Remix) – 4:23\n\nUK / Irish Enhanced CD single\n \"How Come You Don't Call Me\" (Original Radio Version) – 3:31\t\n \"How Come You Don't Call Me\" (Neptunes Remix) – 4:23 \t\n \"How Come You Don't Call Me\" (Live Version) – 5:18 \t\n \"Butterflyz\" (Roger's Release Mix) – 9:11 \t\n \"How Come You Don't Call Me\" (Video)\n\nEuropean Enhanced CD single\n \"How Come You Don't Call Me\" (Original Radio Version) – 3:31\t\n \"How Come You Don't Call Me\" (Neptunes Remix) – 4:23 \t\n \"Butterflyz\" (Roger's Release Mix) – 9:11 \t\n \"How Come You Don't Call Me\" (Video)\n\nAustralian / New Zealander Enhanced CD single\n \"How Come You Don't Call Me\" (Neptunes Remix) – 4:23 \n \"How Come You Don't Call Me\" (Original Radio Version) – 3:31\n \"How Come You Don't Call Me\" (Album Version) – 3:57\n \"How Come You Don't Call Me\" (Video)\n\nSpanish promotional CD single\n \"How Come You Don't Call Me\" (Remix) – 4:23 \n \"How Come You Don't Call Me\" (Radio Edit) – 3:31\n\nUS promotional CD single\n \"How Come You Don't Call Me\" (Radio Edit) – 3:31\n \"How Come You Don't Call Me\" (Instrumental) – 3:59\n \"How Come You Don't Call Me\" (Call Out Hook) – 0:10\n\nUS promotional CD single (Neptunes Remix)\n \"How Come You Don't Call Me\" (Radio Edit) – 4:23\n \"How Come You Don't Call Me\" (Instrumental) – 4:33\n \"How Come You Don't Call Me\" (Call Out Hook) – 0:10\n\nUS 12\" single\nA. \"How Come You Don't Call Me\" (Neptunes Remix – Main) – 4:21 \t\nB. \"How Come You Don't Call Me\" (Neptunes Remix – Instrumental) – 4:21\n\nUK 12\" single\nA1. \"How Come You Don't Call Me\" (Original Album Version) – 3:57\nA2. \"How Come You Don't Call Me\" (Neptunes Remix) – 4:23\t\t\nB1. \"Butterflyz\" (Roger's Release Mix) – 9:11\n\nUK promotional 12\" single\nA1. \"How Come You Don't Call Me\" (Neptunes Remix) – 4:23 \t\nA2. \"Troubles\" (Jay-J & Chris Lum Moulton Mix) – 8:59 \t\nB1. \"Butterflyz\" (Roger Sanchez Club Mix) – 9:11 \t\nB2. \"How Come You Don't Call Me\" (Live Version) – 3:10\n\nPersonnel\n Alicia Keys – producer, lead vocals, backing vocals, all other instruments\n Kerry \"Krucial\" Brothers – producer, drum programming\n Russ Elevado – mixer\n\nCharts\n\nRelease history\n\nReferences\n\nExternal links\nHow Come You Don't Call Me at Discogs\n\n1980s ballads\n1982 songs\n2002 singles\nAlicia Keys songs\nMusic videos directed by Director X\nPrince (musician) songs\nRhythm and blues ballads\nSong recordings produced by Prince (musician)\nSongs written by Prince (musician)\nStephanie Mills songs\nSoul ballads",
"Come Along may refer to:\n\n\"Come Along\", song by Elvis Presley from the album Frankie and Johnny\n\"Come Along\", song by Maurice Williams and the Zodiacs from the album Stay with Maurice Williams & The Zodiacs\nCome Along, 2001 album by Swedish singer Titiyo\n\"Come Along\" (Titiyo song), title track from above album by Titiyo\n \"Come Along\", a 2018 song from Cosmo Sheldrake's album The Much Much How How and I\n Come-A-Long is a mechanical, pulling device.\n\nSee also\n\"Come Along, John, an alternative title for the American song \"Walk Along John\", written for the blackface minstrel show stage in 1843\nCome Along, 1990 song by \"Salty Dog\" \nCome Along Now (album), album by Greek singer Despina Vandi\n\"Come Along Now\", 2004 title song by Phoebus featuring Despina Vandi"
]
|
[
"Bush (British band)",
"The Science of Things (1999-2000)",
"How did this album come about?",
"Records. The case was settled in early 1999 and the album was finally released that October."
]
| C_b8d6ab4eaa0c4ea4b3195fe4b4af401e_0 | Were there problems with their album release? | 2 | Were there problems with the release of the album The Science of Things by Bush ? | Bush (British band) | Following the completion of touring, Rossdale went into seclusion in Ireland, where he worked on material for the group's next album. Rossdale periodically sent demo tapes of his works in progress to his bandmates. The group finally convened to record in London in August 1998, where the band reteamed with Sixteen Stone producers Clive Langer and Alan Winstanley. The release of The Science of Things was held up by a court battle between the band and Trauma Records. The case was settled in early 1999 and the album was finally released that October. The Science of Things was a major departure in several forms from Bush's first two albums. Like the multi-platinum successes of Bush's first two albums, this album also reached platinum status. Also, while the band's previous albums were strongly influenced by grunge, The Science of Things featured some electronic music influences in addition to the sound defined by Bush's earlier work. For example, although lead single "The Chemicals Between Us" had a prominent guitar riff, it also had many electronic elements usually found in dance music. Although the album had a few hit songs, it failed to chart in the top 10. The band's performance at Woodstock '99, however, helped The Science of Things achieve platinum status despite its slow start. Three singles were released from The Science of Things, most notably "The Chemicals Between Us", which spent five weeks at No. 1 on the Modern Rock Tracks and peaked at No. 67 on the US Hot 100."Warm Machine" was the second single released. "Letting the Cables Sleep," the third single, reached No. 4 on the Modern Rock Tracks and also received considerable airplay. CANNOTANSWER | The Science of Things was a major departure in several forms from Bush's first two albums. | Bush are a British rock band formed in London, England in 1992. Their current lineup consists of lead vocalist and rhythm guitarist Gavin Rossdale, lead guitarist Chris Traynor, bassist Corey Britz, and drummer Nik Hughes.
In 1994, Bush found immediate success outside the UK with the release of their debut album, Sixteen Stone, which is certified 6× multi-platinum by the RIAA. They went on to become one of the most commercially successful rock bands of the 1990s, selling over 10 million records in the United States and 20 million records worldwide.
Despite their success in the US (especially in the mid-1990s), the band were considerably less popular in their home country and they have enjoyed only marginal success there.
Bush have had numerous top ten singles on the Billboard rock charts and one No. 1 album with Razorblade Suitcase in 1996. The band broke up in 2002 but reformed in 2010, and have released four albums since then: The Sea of Memories (2011), Man on the Run (2014), Black and White Rainbows (2017), and The Kingdom (2020).
History
Formation and Sixteen Stone (1992–1995)
After leaving his band Midnight, Gavin Rossdale met former King Blank guitarist Nigel Pulsford at a Wembley performance by Baby Animals supporting Bryan Adams in November 1991. The two musicians became friends over a shared appreciation for several artists, including Big Black, The Fall, Pixies, and The Velvet Underground. They formed a new band which they called Future Primitive. Describing the early sound of the group, one British record label executive said years later, "They weren't what they are today – they were a little like the more commercial side of INXS". To complete the lineup, the pair recruited bassist Dave Parsons, and drummer Robin Goodridge joined in mid-1993 shortly before Bush were signed. While still known as Future Primitive, the band released the song "Bomb", later to be featured on the band's debut, as a single through Rossdale's own Mad Dog Winston Records.
In 1993, the band was signed by Rob Kahane, who had a distribution deal with Disney's Hollywood Records. The band completed recording its debut album Sixteen Stone in early 1994. However, the death of Disney executive Frank G. Wells eliminated a supporter for Kahane, and executives at Hollywood deemed Bush's album unacceptable for release. Consequently, the bandmates took jobs performing menial labour. Interscope Records ultimately decided to release the album, and at the end of 1994, Kahane sent an advance copy of the album to a friend at influential Los Angeles radio station KROQ-FM, which added the song "Everything Zen" to its rotation.
On the Billboard charts (North America), Sixteen Stone peaked at No. 4 on the Heatseekers and Billboard 200 charts. The album spawned two Top 40 singles. After about six months of promotion for Sixteen Stone, the album began to sell well, once "Comedown" and "Glycerine" struck America. Additionally, "Little Things" and "Machinehead" both charted well in North America.
In Canada, the band were initially forced to release Sixteen Stone under the name BushX, as the 1970s Canadian band Bush still held the rights to the name Bush in the Canadian market. The dispute arose after the British band's lawyers threatened to intervene to prevent the Canadian band from reissuing its 1970 album, although it was entirely between the bands' lawyers as Rossdale and Domenic Troiano, the leader of the Canadian band, both expressed a willingness to negotiate a solution. In 1997, after the band's second album Razorblade Suitcase also bore the X, Rossdale and Troiano directly negotiated an agreement under which the British band were allowed to drop the X in exchange for donating $20,000 each to the Starlight Foundation and the Canadian Music Therapy Trust Fund. Both Sixteen Stone and Razorblade Suitcase were then reissued without the X.
Razorblade Suitcase (1996–1998)
In late 1996 Bush released the first single "Swallowed" from their second album titled Razorblade Suitcase. The song spent seven weeks on top of the Modern Rock Tracks chart. This was followed by single "Greedy Fly". The album hit number 1 in America and placed high in many European countries. Razorblade Suitcase featured American recording engineer Steve Albini, a move which was viewed negatively by critics. Albini had worked with Nirvana on their final studio album, In Utero, three years before. Bush later released the remix album Deconstructed. The album saw Bush re-arranging their songs into dance and techno stylings. The album went platinum less than a year after release.
The Science of Things (1999–2000)
Following the completion of touring, Rossdale went into seclusion in Ireland, where he worked on material for the group's next album, periodically sending demo tapes of his works in progress to his bandmates. The group finally convened to record in London in August 1998, where the band reteamed with Sixteen Stone producers Clive Langer and Alan Winstanley.
The release of The Science of Things was stymied by a court battle between the band and Trauma Records. The case was settled in early 1999 and the album was finally released that October. The Science of Things was a major departure in several forms from Bush's first two albums. Like the multi-platinum successes of Bush's first two albums, this album also reached platinum status. Also, while the band's previous albums were strongly influenced by grunge, The Science of Things featured some electronic music influences in addition to the sound defined by Bush's earlier work. For example, although lead single "The Chemicals Between Us" had a prominent guitar riff, it also had many electronic elements usually found in dance music. Although the album had a few hit songs, it failed to chart in the top 10.
The band's performance at Woodstock '99, however, helped The Science of Things achieve platinum status despite its slow start. Three singles were released from The Science of Things, most notably "The Chemicals Between Us", which spent five weeks at No. 1 on the Modern Rock Tracks and peaked at No. 67 on the US Hot 100. "Warm Machine" was the second single released. "Letting the Cables Sleep", the third single, reached No. 4 on the Modern Rock Tracks and also received considerable airplay, and appeared in an episode of the medical drama series ER.
Golden State and breakup (2001–2002)
In October 2001, now on the Atlantic Records record label, Bush released its next album, Golden State. While the album attempted to return to the simple, catchy sound of the band's debut, it failed to achieve the same commercial success as the band's previous releases. Several singles were released, most notably the hit "The People That We Love (Speed Kills)", but none were mainstream successes. The album was the band's least successful, selling only 380,000 copies in the US. "The People That We Love (Speed Kills)" was used in the game Need for Speed: Hot Pursuit 2. In January 2002, Pulsford retired after the release of Golden State to spend more time with his family. Chris Traynor filled in for him for the subsequent tour, which would turn out to be Bush's last for eight years. Due to declining record sales and a lack of support from Atlantic Records, Bush disbanded in 2002. In 2005, a greatest hits album called The Best of '94–'99 and a live album called Zen X Four were released.
Post-breakup (2003–2010)
Gavin Rossdale formed a new band, Institute, in 2004, serving as their lead vocalist and guitarist, just as in Bush. Chris Traynor also joined the band, as lead guitarist. In addition to playing in Institute, Traynor also joined the reunited metal band Helmet in 2004 on bass; he quit the band in 2006. Institute released one album, Distort Yourself, but failed to achieve much commercial success in spite of opening for U2's Vertigo Tour at some shows. Institute broke up in 2006 and Rossdale then embarked on a solo career. In 2007, he covered the John Lennon song "Mind Games" for the Lennon tribute album Instant Karma: The Amnesty International Campaign to Save Darfur. His first solo album, Wanderlust, supported by leading single "Love Remains the Same", was released in June 2008. Rossdale also ventured into acting, appearing in the films Zoolander, Little Black Book, The Game of Their Lives, Constantine, How to Rob a Bank and others.
Robin Goodridge recorded with the British rock band Elyss in 2004, although they have not released any new material since. In 2006, Goodridge began drumming for indie rock band Spear of Destiny, and appeared on their 2007 album, Imperial Prototype. During the summer of 2008, he toured the UK with British rock band Stone Gods after their current drummer Ed Graham reportedly fell ill. On 29 July it was announced that Graham had left the band and on 6 October 2008, the band's website announced that Goodridge had joined the band. Nigel Pulsford has spent most of his time since leaving Bush raising his children with his wife. In an interview with Blender, Gavin Rossdale admitted that the likelihood of a Bush reunion was "very high". He then added "quite high". In a November 2008 interview, Rossdale revealed that he had tried to contact the other members of Bush, "I reached out to them".
Reunion and The Sea of Memories (2010–2013)
On 22 June 2010, it was announced that Bush would play their first show in eight years at the second-annual Epicenter Music Festival in Fontana, California on 25 September 2010. A new album, then-titled Everything Always Now, was also announced as well as a new single "Afterlife". Founding members Nigel Pulsford and Dave Parsons both decided not to rejoin the band.
Pulsford's and Parsons' successors were Chris Traynor and Corey Britz respectively. Traynor had also stood in for Pulsford during the Golden State tour. The new line-up played seven shows in 2010, performing songs from Bush's previous four albums as well as a new song, "Afterlife".
Gavin announced on radio that their new album had been named The Sea of Memories and was released in September and managed to peak at No. 18 on the Billboard Top 200. The first single of the album, "The Sound of Winter" was released in July 2011 and reached number one on the Billboard Alternative Songs chart. On 19 November 2011, Bush performed a live set for "Guitar Center Sessions" on DirecTV. The episode included an interview with program host, Nic Harcourt. Their song "Into The Blue" was featured on The Avengers soundtrack album released on 1 May 2012. They toured with Nickelback on their Here and Now Tour.
Man on the Run (2014–2016)
On 26 March 2014, it was reported that Bush had begun recording their sixth studio album with producer Nick Raskulinecz. Gavin Rossdale announced on 18 August 2014 that the new album, Man on the Run, was available for pre-order in both digital and deluxe edition CD form. A day later, the band revealed that the lead single from the album would be "The Only Way Out". In November 2014 the band announced tour dates for the early months of 2015 beginning on 30 January. In June 2016, Bush released a music video for the new song "People At War".
Black and White Rainbows (2017–2019)
In January 2017, it was reported that Bush had mastered and completed work on their seventh studio album. On 6 February 2017, the band announced the title, release date of 10 March 2017, and track listing for their seventh studio album, Black and White Rainbows. The lead single from the album, "Mad Love", was released the same day.
On 2 April 2018 a tour of the United States of America, called Revolution 3 Tour, was announced for the summer. They performed as co-headliners with Stone Temple Pilots and The Cult.
Rossdale also revealed that he was working on some material called "heavier" than the recent productions in anticipation of a forthcoming band album.
The Kingdom (2019–present)
In May 2019, Bush set The Mind Plays Tricks on You as the title of their new studio album, tentatively due in early 2020.
Drummer Robin Goodridge departed from the band in 2019. With Goodridge's departure, Rossdale became the only original member of Bush remaining in the band.
On 10 May 2019, it was announced that a song, "Bullet Holes", would feature in the film John Wick: Chapter 3 – Parabellum. The song and music video were released on 17 May 2019. Rossdale claimed in late May that the new album, featuring songwriting from Tyler Bates, was influenced by Bush's presence on music festivals dominated by primarily metal bands, and that he had been specifically listening to System of a Down during the writing process for the new album.
On 3 March 2020 the band released a new single, "Flowers on a Grave" and announced their new album was re-titled The Kingdom. The album was released on 17 July 2020.
Musical style and influences
Bush have been described as post-grunge, grunge, alternative rock, and hard rock. One of the first bands to be described as post-grunge, Bush were labeled almost pejoratively as such. Matt Diehl of Rolling Stone described Bush as "the most successful and shameless mimics of Nirvana's music". In the book Fargo Rock City: A Heavy Metal Odyssey in Rural North Dakota, Chuck Klosterman wrote, "Bush was a good band who just happened to signal the beginning of the end; ultimately, they would become the grunge Warrant". In the book Accidental Revolution: The Story of Grunge, Kyle Anderson wrote about Bush's album Sixteen Stone, writing:
Bush have noted Nirvana's music as a key influence in their work, but remained insistent that their style is original. Talking to The Morning Call in February 1996, lead guitarist Nigel Pulsford remarked "Nirvana was a big influence. They acted as a catalyst, put the guitar band back in vogue and inspired us to perform". Of the similarities in the music of the two acts, Gavin Rossdale told Rolling Stone that he "hoped" there was an element of Nirvana in Bush but also that felt he "had [his] own thing". In 2011, Rossdale proclaimed Pixies as "the most influential band" to him. In addition, members of Bush have cited artists including The Beatles, Big Black, David Bowie, Bob Dylan, PJ Harvey, Hole, Hüsker Dü, Jane's Addiction, My Bloody Valentine, Led Zeppelin, Tom Petty, The Replacements, Sex Pistols, Smashing Pumpkins, Sonic Youth, Soul Asylum, Soundgarden, and Neil Young as influential or inspirational.
Band members
Current
Gavin Rossdale – lead vocals, rhythm guitar (1992–2002, 2010–present)
Chris Traynor – lead guitar (2002, 2010–present), backing vocals (2002)
Corey Britz – bass, backing vocals (2010–present)
Nik Hughes – drums (2019–present)
Former
Nigel Pulsford – lead guitar, backing vocals (1992–2002)
Dave Parsons – bass (1992–2002)
Robin Goodridge – drums (1993–2002, 2010–2019)
Touring musicians
Sacha Puttnam – keyboards, piano, backing vocals (2002)
Sibyl Buck – bass (2012, 2013)
Timeline
Discography
Sixteen Stone (1994)
Razorblade Suitcase (1996)
The Science of Things (1999)
Golden State (2001)
The Sea of Memories (2011)
Man on the Run (2014)
Black and White Rainbows (2017)
The Kingdom (2020)
Awards and nominations
American Music Awards
Grammy Awards
MTV Video Music Awards
MTV Movie Awards
References
External links
Allmusic entry
MTV biography
Atlantic Records artists
British post-grunge groups
English alternative rock groups
English grunge groups
Musical groups established in 1992
Musical groups disestablished in 2002
Musical groups reestablished in 2010
Musical groups from London
Sony Music Publishing artists
English hard rock musical groups
Musical quartets | true | [
"Greatest Hits is A-Teens' last album. It is a compilation including their biggest worldwide hits, such as \"Mamma Mia\", \"Upside Down\", \"Halfway Around the World\", \"Floorfiller\", and many others. Every track included on the album (except for the new tracks) reached the Top 20 in at least one country.\n\nThe album was planned to be released in early 2004, but due to problems with Stockholm Records/Universal Music, A-Teens released the album on May 5, 2004.\n\nFor the release of this album, the A-Teens called all their fans through their website asking for pictures, and they included the pictures on the booklet of the album. The tracks \"The Final Cut\" and \"With or Without You\" were written by the members of the band, giving messages of \"goodbye\" and \"thanks\" to their fans.\n\nThis album was not released worldwide. Instead, it was released in selected territories where Universal thought it would do well. These included Mexico, Argentina, Germany, and some other European and Asian countries.\n\nThe album went on to sell over 10,000 copies in Argentina and another 3,000 in Brazil; overall, the album sold relatively well in Latin America and some parts of Europe, where \"I Promised Myself\" was a huge hit.\n\nAn American edition was planned for this album, and it was going to be released through Interscope Records in late 2004. However despite their success in North America, the A-Teens were already finishing their Greatest Hits Tour in Sweden and they didn't want to promote in America as Dhani was about to release his first solo single there, so Interscope cancelled the release. The album was eventually made available digitally worldwide on September 10, 2020, along with the rest of A*Teens album discography.\n\nTrack listing\n\nWeekly charts\n\nReferences\nNotes:\n\nA-Teens albums\nAlbums produced by RedOne\n2004 greatest hits albums",
"Celluloide is a French electronic pop band.\n\nBiography\nCelluloide's debut album 'Naive Heart' was released in 2002: it included twelve synthpop songs with female vocals.\n\nA numbered limited edition of the CD presenting the same 12 tracks in experimental versions.\n\nDuring the recording sessions of their second album Words Once Said, Celluloide recorded 6 covers of 80's wave classics under the name 'Naphtaline EP'.\n\n2004 saw the band's twelve-track second album released: 'Words Once Said'.\n\nAfter few months Celluloide signed with Boytronic's label Major Records for a re-release of Words Once Said in Germany with a special edition including a track in German.\n\nThe band resumed work in 2005. Due to technical problems, the Bodypop EP announced for 2005 was released in 2006. A 12 track album, \"Passion & Excitements\", came with a limited edition EP, \"Bodypop Clubmixes\".\n\nAll the covers the band previously released on several tribute compilation and some unreleased track were compiled with the 2003 Naphtaline EP, for a CD release in a remastered version as a full-length album, with 13 tracks, released in 2008.\n\nDiscography\n 'Naive heart' (2002)\n 'Words Once Said' (2004)\n 'Bodypop EP' (2006)\n 'Passion & Excitements' (2007)\n 'Naphtaline LP' (2008)\n 'Hexagonal' (2010)\n 'Art Plastique' (2014)\n 'Futur Antérieur' (2020)\n\nMusical groups from Marseille\nMusical groups established in 2002\nFrench electronic music groups\n2002 establishments in France"
]
|
[
"Bush (British band)",
"The Science of Things (1999-2000)",
"How did this album come about?",
"Records. The case was settled in early 1999 and the album was finally released that October.",
"Were there problems with their album release?",
"The Science of Things was a major departure in several forms from Bush's first two albums."
]
| C_b8d6ab4eaa0c4ea4b3195fe4b4af401e_0 | What was different about the album? | 3 | What was different about the album The Science of Things by Bush ? | Bush (British band) | Following the completion of touring, Rossdale went into seclusion in Ireland, where he worked on material for the group's next album. Rossdale periodically sent demo tapes of his works in progress to his bandmates. The group finally convened to record in London in August 1998, where the band reteamed with Sixteen Stone producers Clive Langer and Alan Winstanley. The release of The Science of Things was held up by a court battle between the band and Trauma Records. The case was settled in early 1999 and the album was finally released that October. The Science of Things was a major departure in several forms from Bush's first two albums. Like the multi-platinum successes of Bush's first two albums, this album also reached platinum status. Also, while the band's previous albums were strongly influenced by grunge, The Science of Things featured some electronic music influences in addition to the sound defined by Bush's earlier work. For example, although lead single "The Chemicals Between Us" had a prominent guitar riff, it also had many electronic elements usually found in dance music. Although the album had a few hit songs, it failed to chart in the top 10. The band's performance at Woodstock '99, however, helped The Science of Things achieve platinum status despite its slow start. Three singles were released from The Science of Things, most notably "The Chemicals Between Us", which spent five weeks at No. 1 on the Modern Rock Tracks and peaked at No. 67 on the US Hot 100."Warm Machine" was the second single released. "Letting the Cables Sleep," the third single, reached No. 4 on the Modern Rock Tracks and also received considerable airplay. CANNOTANSWER | The Science of Things featured some electronic music influences in addition to the sound defined by Bush's earlier work. | Bush are a British rock band formed in London, England in 1992. Their current lineup consists of lead vocalist and rhythm guitarist Gavin Rossdale, lead guitarist Chris Traynor, bassist Corey Britz, and drummer Nik Hughes.
In 1994, Bush found immediate success outside the UK with the release of their debut album, Sixteen Stone, which is certified 6× multi-platinum by the RIAA. They went on to become one of the most commercially successful rock bands of the 1990s, selling over 10 million records in the United States and 20 million records worldwide.
Despite their success in the US (especially in the mid-1990s), the band were considerably less popular in their home country and they have enjoyed only marginal success there.
Bush have had numerous top ten singles on the Billboard rock charts and one No. 1 album with Razorblade Suitcase in 1996. The band broke up in 2002 but reformed in 2010, and have released four albums since then: The Sea of Memories (2011), Man on the Run (2014), Black and White Rainbows (2017), and The Kingdom (2020).
History
Formation and Sixteen Stone (1992–1995)
After leaving his band Midnight, Gavin Rossdale met former King Blank guitarist Nigel Pulsford at a Wembley performance by Baby Animals supporting Bryan Adams in November 1991. The two musicians became friends over a shared appreciation for several artists, including Big Black, The Fall, Pixies, and The Velvet Underground. They formed a new band which they called Future Primitive. Describing the early sound of the group, one British record label executive said years later, "They weren't what they are today – they were a little like the more commercial side of INXS". To complete the lineup, the pair recruited bassist Dave Parsons, and drummer Robin Goodridge joined in mid-1993 shortly before Bush were signed. While still known as Future Primitive, the band released the song "Bomb", later to be featured on the band's debut, as a single through Rossdale's own Mad Dog Winston Records.
In 1993, the band was signed by Rob Kahane, who had a distribution deal with Disney's Hollywood Records. The band completed recording its debut album Sixteen Stone in early 1994. However, the death of Disney executive Frank G. Wells eliminated a supporter for Kahane, and executives at Hollywood deemed Bush's album unacceptable for release. Consequently, the bandmates took jobs performing menial labour. Interscope Records ultimately decided to release the album, and at the end of 1994, Kahane sent an advance copy of the album to a friend at influential Los Angeles radio station KROQ-FM, which added the song "Everything Zen" to its rotation.
On the Billboard charts (North America), Sixteen Stone peaked at No. 4 on the Heatseekers and Billboard 200 charts. The album spawned two Top 40 singles. After about six months of promotion for Sixteen Stone, the album began to sell well, once "Comedown" and "Glycerine" struck America. Additionally, "Little Things" and "Machinehead" both charted well in North America.
In Canada, the band were initially forced to release Sixteen Stone under the name BushX, as the 1970s Canadian band Bush still held the rights to the name Bush in the Canadian market. The dispute arose after the British band's lawyers threatened to intervene to prevent the Canadian band from reissuing its 1970 album, although it was entirely between the bands' lawyers as Rossdale and Domenic Troiano, the leader of the Canadian band, both expressed a willingness to negotiate a solution. In 1997, after the band's second album Razorblade Suitcase also bore the X, Rossdale and Troiano directly negotiated an agreement under which the British band were allowed to drop the X in exchange for donating $20,000 each to the Starlight Foundation and the Canadian Music Therapy Trust Fund. Both Sixteen Stone and Razorblade Suitcase were then reissued without the X.
Razorblade Suitcase (1996–1998)
In late 1996 Bush released the first single "Swallowed" from their second album titled Razorblade Suitcase. The song spent seven weeks on top of the Modern Rock Tracks chart. This was followed by single "Greedy Fly". The album hit number 1 in America and placed high in many European countries. Razorblade Suitcase featured American recording engineer Steve Albini, a move which was viewed negatively by critics. Albini had worked with Nirvana on their final studio album, In Utero, three years before. Bush later released the remix album Deconstructed. The album saw Bush re-arranging their songs into dance and techno stylings. The album went platinum less than a year after release.
The Science of Things (1999–2000)
Following the completion of touring, Rossdale went into seclusion in Ireland, where he worked on material for the group's next album, periodically sending demo tapes of his works in progress to his bandmates. The group finally convened to record in London in August 1998, where the band reteamed with Sixteen Stone producers Clive Langer and Alan Winstanley.
The release of The Science of Things was stymied by a court battle between the band and Trauma Records. The case was settled in early 1999 and the album was finally released that October. The Science of Things was a major departure in several forms from Bush's first two albums. Like the multi-platinum successes of Bush's first two albums, this album also reached platinum status. Also, while the band's previous albums were strongly influenced by grunge, The Science of Things featured some electronic music influences in addition to the sound defined by Bush's earlier work. For example, although lead single "The Chemicals Between Us" had a prominent guitar riff, it also had many electronic elements usually found in dance music. Although the album had a few hit songs, it failed to chart in the top 10.
The band's performance at Woodstock '99, however, helped The Science of Things achieve platinum status despite its slow start. Three singles were released from The Science of Things, most notably "The Chemicals Between Us", which spent five weeks at No. 1 on the Modern Rock Tracks and peaked at No. 67 on the US Hot 100. "Warm Machine" was the second single released. "Letting the Cables Sleep", the third single, reached No. 4 on the Modern Rock Tracks and also received considerable airplay, and appeared in an episode of the medical drama series ER.
Golden State and breakup (2001–2002)
In October 2001, now on the Atlantic Records record label, Bush released its next album, Golden State. While the album attempted to return to the simple, catchy sound of the band's debut, it failed to achieve the same commercial success as the band's previous releases. Several singles were released, most notably the hit "The People That We Love (Speed Kills)", but none were mainstream successes. The album was the band's least successful, selling only 380,000 copies in the US. "The People That We Love (Speed Kills)" was used in the game Need for Speed: Hot Pursuit 2. In January 2002, Pulsford retired after the release of Golden State to spend more time with his family. Chris Traynor filled in for him for the subsequent tour, which would turn out to be Bush's last for eight years. Due to declining record sales and a lack of support from Atlantic Records, Bush disbanded in 2002. In 2005, a greatest hits album called The Best of '94–'99 and a live album called Zen X Four were released.
Post-breakup (2003–2010)
Gavin Rossdale formed a new band, Institute, in 2004, serving as their lead vocalist and guitarist, just as in Bush. Chris Traynor also joined the band, as lead guitarist. In addition to playing in Institute, Traynor also joined the reunited metal band Helmet in 2004 on bass; he quit the band in 2006. Institute released one album, Distort Yourself, but failed to achieve much commercial success in spite of opening for U2's Vertigo Tour at some shows. Institute broke up in 2006 and Rossdale then embarked on a solo career. In 2007, he covered the John Lennon song "Mind Games" for the Lennon tribute album Instant Karma: The Amnesty International Campaign to Save Darfur. His first solo album, Wanderlust, supported by leading single "Love Remains the Same", was released in June 2008. Rossdale also ventured into acting, appearing in the films Zoolander, Little Black Book, The Game of Their Lives, Constantine, How to Rob a Bank and others.
Robin Goodridge recorded with the British rock band Elyss in 2004, although they have not released any new material since. In 2006, Goodridge began drumming for indie rock band Spear of Destiny, and appeared on their 2007 album, Imperial Prototype. During the summer of 2008, he toured the UK with British rock band Stone Gods after their current drummer Ed Graham reportedly fell ill. On 29 July it was announced that Graham had left the band and on 6 October 2008, the band's website announced that Goodridge had joined the band. Nigel Pulsford has spent most of his time since leaving Bush raising his children with his wife. In an interview with Blender, Gavin Rossdale admitted that the likelihood of a Bush reunion was "very high". He then added "quite high". In a November 2008 interview, Rossdale revealed that he had tried to contact the other members of Bush, "I reached out to them".
Reunion and The Sea of Memories (2010–2013)
On 22 June 2010, it was announced that Bush would play their first show in eight years at the second-annual Epicenter Music Festival in Fontana, California on 25 September 2010. A new album, then-titled Everything Always Now, was also announced as well as a new single "Afterlife". Founding members Nigel Pulsford and Dave Parsons both decided not to rejoin the band.
Pulsford's and Parsons' successors were Chris Traynor and Corey Britz respectively. Traynor had also stood in for Pulsford during the Golden State tour. The new line-up played seven shows in 2010, performing songs from Bush's previous four albums as well as a new song, "Afterlife".
Gavin announced on radio that their new album had been named The Sea of Memories and was released in September and managed to peak at No. 18 on the Billboard Top 200. The first single of the album, "The Sound of Winter" was released in July 2011 and reached number one on the Billboard Alternative Songs chart. On 19 November 2011, Bush performed a live set for "Guitar Center Sessions" on DirecTV. The episode included an interview with program host, Nic Harcourt. Their song "Into The Blue" was featured on The Avengers soundtrack album released on 1 May 2012. They toured with Nickelback on their Here and Now Tour.
Man on the Run (2014–2016)
On 26 March 2014, it was reported that Bush had begun recording their sixth studio album with producer Nick Raskulinecz. Gavin Rossdale announced on 18 August 2014 that the new album, Man on the Run, was available for pre-order in both digital and deluxe edition CD form. A day later, the band revealed that the lead single from the album would be "The Only Way Out". In November 2014 the band announced tour dates for the early months of 2015 beginning on 30 January. In June 2016, Bush released a music video for the new song "People At War".
Black and White Rainbows (2017–2019)
In January 2017, it was reported that Bush had mastered and completed work on their seventh studio album. On 6 February 2017, the band announced the title, release date of 10 March 2017, and track listing for their seventh studio album, Black and White Rainbows. The lead single from the album, "Mad Love", was released the same day.
On 2 April 2018 a tour of the United States of America, called Revolution 3 Tour, was announced for the summer. They performed as co-headliners with Stone Temple Pilots and The Cult.
Rossdale also revealed that he was working on some material called "heavier" than the recent productions in anticipation of a forthcoming band album.
The Kingdom (2019–present)
In May 2019, Bush set The Mind Plays Tricks on You as the title of their new studio album, tentatively due in early 2020.
Drummer Robin Goodridge departed from the band in 2019. With Goodridge's departure, Rossdale became the only original member of Bush remaining in the band.
On 10 May 2019, it was announced that a song, "Bullet Holes", would feature in the film John Wick: Chapter 3 – Parabellum. The song and music video were released on 17 May 2019. Rossdale claimed in late May that the new album, featuring songwriting from Tyler Bates, was influenced by Bush's presence on music festivals dominated by primarily metal bands, and that he had been specifically listening to System of a Down during the writing process for the new album.
On 3 March 2020 the band released a new single, "Flowers on a Grave" and announced their new album was re-titled The Kingdom. The album was released on 17 July 2020.
Musical style and influences
Bush have been described as post-grunge, grunge, alternative rock, and hard rock. One of the first bands to be described as post-grunge, Bush were labeled almost pejoratively as such. Matt Diehl of Rolling Stone described Bush as "the most successful and shameless mimics of Nirvana's music". In the book Fargo Rock City: A Heavy Metal Odyssey in Rural North Dakota, Chuck Klosterman wrote, "Bush was a good band who just happened to signal the beginning of the end; ultimately, they would become the grunge Warrant". In the book Accidental Revolution: The Story of Grunge, Kyle Anderson wrote about Bush's album Sixteen Stone, writing:
Bush have noted Nirvana's music as a key influence in their work, but remained insistent that their style is original. Talking to The Morning Call in February 1996, lead guitarist Nigel Pulsford remarked "Nirvana was a big influence. They acted as a catalyst, put the guitar band back in vogue and inspired us to perform". Of the similarities in the music of the two acts, Gavin Rossdale told Rolling Stone that he "hoped" there was an element of Nirvana in Bush but also that felt he "had [his] own thing". In 2011, Rossdale proclaimed Pixies as "the most influential band" to him. In addition, members of Bush have cited artists including The Beatles, Big Black, David Bowie, Bob Dylan, PJ Harvey, Hole, Hüsker Dü, Jane's Addiction, My Bloody Valentine, Led Zeppelin, Tom Petty, The Replacements, Sex Pistols, Smashing Pumpkins, Sonic Youth, Soul Asylum, Soundgarden, and Neil Young as influential or inspirational.
Band members
Current
Gavin Rossdale – lead vocals, rhythm guitar (1992–2002, 2010–present)
Chris Traynor – lead guitar (2002, 2010–present), backing vocals (2002)
Corey Britz – bass, backing vocals (2010–present)
Nik Hughes – drums (2019–present)
Former
Nigel Pulsford – lead guitar, backing vocals (1992–2002)
Dave Parsons – bass (1992–2002)
Robin Goodridge – drums (1993–2002, 2010–2019)
Touring musicians
Sacha Puttnam – keyboards, piano, backing vocals (2002)
Sibyl Buck – bass (2012, 2013)
Timeline
Discography
Sixteen Stone (1994)
Razorblade Suitcase (1996)
The Science of Things (1999)
Golden State (2001)
The Sea of Memories (2011)
Man on the Run (2014)
Black and White Rainbows (2017)
The Kingdom (2020)
Awards and nominations
American Music Awards
Grammy Awards
MTV Video Music Awards
MTV Movie Awards
References
External links
Allmusic entry
MTV biography
Atlantic Records artists
British post-grunge groups
English alternative rock groups
English grunge groups
Musical groups established in 1992
Musical groups disestablished in 2002
Musical groups reestablished in 2010
Musical groups from London
Sony Music Publishing artists
English hard rock musical groups
Musical quartets | true | [
"Sizzlar is the debut studio album by Australian record producer, L D R U. The album was released on 14 July 2017 and peaked at number 66 on the Australian ARIA Albums Chart. A remix album was released in February 2018.\n\nWhen speaking about the album, Carmody said \"Take My\" is his favourite track because \"it's kind of a bit different and out of the norm to what I'd usually do... It was about a one night stand and picking up girls in the club, so it was kind of a fun process to write about.\"\n\nTrack listing\n\nCharts\n\nRelease history\n\nReferences\n\n2017 debut albums\nL D R U albums\nSony Music Australia albums",
"{{Album ratings\n| rev1 = Allmusic\n| rev1Score = <ref name=\"allmusic\">{{cite web|last1=Adams|first1=Greg|url=https://www.allmusic.com/album/what-about-me-mw0000948918|title=What About Me|work=Allmusic|access-date=October 25, 2017}}</ref>}}What About Me is the debut studio album by Anne Murray issued in 1968 on Arc Records. Upon its release, the album was only issued in Canada (it would later be issued in the U.S. on the Pickwick label, following Murray's 1970s chart success there).\n\nThe album was reissued in Europe on the Astan label under the title Both Sides Now after original title track \"What About Me\" was dropped from the album. \"Both Sides Now\" is the well known Joni Mitchell song covered on the album. Other versions of the album kept the title Both Sides Now but include the \"What About Me\" track.\n\nIn 1980, Chevron Records (UK) released an album (#CHVL 1830) with the same title but with a different cover art - tracks 4 and 5 are a medley and this causes confusion but the Chevron issue is complete.\n\nTrack listing\n\"What About Me\" (Scott McKenzie) - 3:09\n\"Both Sides Now\" (Joni Mitchell) - 3:22\n\"It's All Over\" (Alan MacRae) - 2:09\n\"Some Birds\" (Ken Tobias) \n\"For Baby\" (John Denver credited as Deutshendorf'') - 4:31 (medley total for tracks 4 & 5) \n\"Paths of Victory\" (Brian Ahern) - 1:54\n\"David's Song\" (David Wiffen) - 3:10\n\"There Goes My Everything\" (Dallas Frazier) - 3:25\n\"Buffalo in the Park\" (Ahern, William Hawkins) - 2:52\n\"Last Thing on My Mind\" (Tom Paxton) - 2:28\n\"All the Time\" (Mel Tillis, Wayne Walker) - 2:39\n\nReferences\n\n1968 debut albums\nAnne Murray albums\nAlbums produced by Brian Ahern (producer)"
]
|
[
"Bush (British band)",
"The Science of Things (1999-2000)",
"How did this album come about?",
"Records. The case was settled in early 1999 and the album was finally released that October.",
"Were there problems with their album release?",
"The Science of Things was a major departure in several forms from Bush's first two albums.",
"What was different about the album?",
"The Science of Things featured some electronic music influences in addition to the sound defined by Bush's earlier work."
]
| C_b8d6ab4eaa0c4ea4b3195fe4b4af401e_0 | What was the sound of the songs released? | 4 | What was the sound of the songs released on the album The Science of Things by Bush ? | Bush (British band) | Following the completion of touring, Rossdale went into seclusion in Ireland, where he worked on material for the group's next album. Rossdale periodically sent demo tapes of his works in progress to his bandmates. The group finally convened to record in London in August 1998, where the band reteamed with Sixteen Stone producers Clive Langer and Alan Winstanley. The release of The Science of Things was held up by a court battle between the band and Trauma Records. The case was settled in early 1999 and the album was finally released that October. The Science of Things was a major departure in several forms from Bush's first two albums. Like the multi-platinum successes of Bush's first two albums, this album also reached platinum status. Also, while the band's previous albums were strongly influenced by grunge, The Science of Things featured some electronic music influences in addition to the sound defined by Bush's earlier work. For example, although lead single "The Chemicals Between Us" had a prominent guitar riff, it also had many electronic elements usually found in dance music. Although the album had a few hit songs, it failed to chart in the top 10. The band's performance at Woodstock '99, however, helped The Science of Things achieve platinum status despite its slow start. Three singles were released from The Science of Things, most notably "The Chemicals Between Us", which spent five weeks at No. 1 on the Modern Rock Tracks and peaked at No. 67 on the US Hot 100."Warm Machine" was the second single released. "Letting the Cables Sleep," the third single, reached No. 4 on the Modern Rock Tracks and also received considerable airplay. CANNOTANSWER | CANNOTANSWER | Bush are a British rock band formed in London, England in 1992. Their current lineup consists of lead vocalist and rhythm guitarist Gavin Rossdale, lead guitarist Chris Traynor, bassist Corey Britz, and drummer Nik Hughes.
In 1994, Bush found immediate success outside the UK with the release of their debut album, Sixteen Stone, which is certified 6× multi-platinum by the RIAA. They went on to become one of the most commercially successful rock bands of the 1990s, selling over 10 million records in the United States and 20 million records worldwide.
Despite their success in the US (especially in the mid-1990s), the band were considerably less popular in their home country and they have enjoyed only marginal success there.
Bush have had numerous top ten singles on the Billboard rock charts and one No. 1 album with Razorblade Suitcase in 1996. The band broke up in 2002 but reformed in 2010, and have released four albums since then: The Sea of Memories (2011), Man on the Run (2014), Black and White Rainbows (2017), and The Kingdom (2020).
History
Formation and Sixteen Stone (1992–1995)
After leaving his band Midnight, Gavin Rossdale met former King Blank guitarist Nigel Pulsford at a Wembley performance by Baby Animals supporting Bryan Adams in November 1991. The two musicians became friends over a shared appreciation for several artists, including Big Black, The Fall, Pixies, and The Velvet Underground. They formed a new band which they called Future Primitive. Describing the early sound of the group, one British record label executive said years later, "They weren't what they are today – they were a little like the more commercial side of INXS". To complete the lineup, the pair recruited bassist Dave Parsons, and drummer Robin Goodridge joined in mid-1993 shortly before Bush were signed. While still known as Future Primitive, the band released the song "Bomb", later to be featured on the band's debut, as a single through Rossdale's own Mad Dog Winston Records.
In 1993, the band was signed by Rob Kahane, who had a distribution deal with Disney's Hollywood Records. The band completed recording its debut album Sixteen Stone in early 1994. However, the death of Disney executive Frank G. Wells eliminated a supporter for Kahane, and executives at Hollywood deemed Bush's album unacceptable for release. Consequently, the bandmates took jobs performing menial labour. Interscope Records ultimately decided to release the album, and at the end of 1994, Kahane sent an advance copy of the album to a friend at influential Los Angeles radio station KROQ-FM, which added the song "Everything Zen" to its rotation.
On the Billboard charts (North America), Sixteen Stone peaked at No. 4 on the Heatseekers and Billboard 200 charts. The album spawned two Top 40 singles. After about six months of promotion for Sixteen Stone, the album began to sell well, once "Comedown" and "Glycerine" struck America. Additionally, "Little Things" and "Machinehead" both charted well in North America.
In Canada, the band were initially forced to release Sixteen Stone under the name BushX, as the 1970s Canadian band Bush still held the rights to the name Bush in the Canadian market. The dispute arose after the British band's lawyers threatened to intervene to prevent the Canadian band from reissuing its 1970 album, although it was entirely between the bands' lawyers as Rossdale and Domenic Troiano, the leader of the Canadian band, both expressed a willingness to negotiate a solution. In 1997, after the band's second album Razorblade Suitcase also bore the X, Rossdale and Troiano directly negotiated an agreement under which the British band were allowed to drop the X in exchange for donating $20,000 each to the Starlight Foundation and the Canadian Music Therapy Trust Fund. Both Sixteen Stone and Razorblade Suitcase were then reissued without the X.
Razorblade Suitcase (1996–1998)
In late 1996 Bush released the first single "Swallowed" from their second album titled Razorblade Suitcase. The song spent seven weeks on top of the Modern Rock Tracks chart. This was followed by single "Greedy Fly". The album hit number 1 in America and placed high in many European countries. Razorblade Suitcase featured American recording engineer Steve Albini, a move which was viewed negatively by critics. Albini had worked with Nirvana on their final studio album, In Utero, three years before. Bush later released the remix album Deconstructed. The album saw Bush re-arranging their songs into dance and techno stylings. The album went platinum less than a year after release.
The Science of Things (1999–2000)
Following the completion of touring, Rossdale went into seclusion in Ireland, where he worked on material for the group's next album, periodically sending demo tapes of his works in progress to his bandmates. The group finally convened to record in London in August 1998, where the band reteamed with Sixteen Stone producers Clive Langer and Alan Winstanley.
The release of The Science of Things was stymied by a court battle between the band and Trauma Records. The case was settled in early 1999 and the album was finally released that October. The Science of Things was a major departure in several forms from Bush's first two albums. Like the multi-platinum successes of Bush's first two albums, this album also reached platinum status. Also, while the band's previous albums were strongly influenced by grunge, The Science of Things featured some electronic music influences in addition to the sound defined by Bush's earlier work. For example, although lead single "The Chemicals Between Us" had a prominent guitar riff, it also had many electronic elements usually found in dance music. Although the album had a few hit songs, it failed to chart in the top 10.
The band's performance at Woodstock '99, however, helped The Science of Things achieve platinum status despite its slow start. Three singles were released from The Science of Things, most notably "The Chemicals Between Us", which spent five weeks at No. 1 on the Modern Rock Tracks and peaked at No. 67 on the US Hot 100. "Warm Machine" was the second single released. "Letting the Cables Sleep", the third single, reached No. 4 on the Modern Rock Tracks and also received considerable airplay, and appeared in an episode of the medical drama series ER.
Golden State and breakup (2001–2002)
In October 2001, now on the Atlantic Records record label, Bush released its next album, Golden State. While the album attempted to return to the simple, catchy sound of the band's debut, it failed to achieve the same commercial success as the band's previous releases. Several singles were released, most notably the hit "The People That We Love (Speed Kills)", but none were mainstream successes. The album was the band's least successful, selling only 380,000 copies in the US. "The People That We Love (Speed Kills)" was used in the game Need for Speed: Hot Pursuit 2. In January 2002, Pulsford retired after the release of Golden State to spend more time with his family. Chris Traynor filled in for him for the subsequent tour, which would turn out to be Bush's last for eight years. Due to declining record sales and a lack of support from Atlantic Records, Bush disbanded in 2002. In 2005, a greatest hits album called The Best of '94–'99 and a live album called Zen X Four were released.
Post-breakup (2003–2010)
Gavin Rossdale formed a new band, Institute, in 2004, serving as their lead vocalist and guitarist, just as in Bush. Chris Traynor also joined the band, as lead guitarist. In addition to playing in Institute, Traynor also joined the reunited metal band Helmet in 2004 on bass; he quit the band in 2006. Institute released one album, Distort Yourself, but failed to achieve much commercial success in spite of opening for U2's Vertigo Tour at some shows. Institute broke up in 2006 and Rossdale then embarked on a solo career. In 2007, he covered the John Lennon song "Mind Games" for the Lennon tribute album Instant Karma: The Amnesty International Campaign to Save Darfur. His first solo album, Wanderlust, supported by leading single "Love Remains the Same", was released in June 2008. Rossdale also ventured into acting, appearing in the films Zoolander, Little Black Book, The Game of Their Lives, Constantine, How to Rob a Bank and others.
Robin Goodridge recorded with the British rock band Elyss in 2004, although they have not released any new material since. In 2006, Goodridge began drumming for indie rock band Spear of Destiny, and appeared on their 2007 album, Imperial Prototype. During the summer of 2008, he toured the UK with British rock band Stone Gods after their current drummer Ed Graham reportedly fell ill. On 29 July it was announced that Graham had left the band and on 6 October 2008, the band's website announced that Goodridge had joined the band. Nigel Pulsford has spent most of his time since leaving Bush raising his children with his wife. In an interview with Blender, Gavin Rossdale admitted that the likelihood of a Bush reunion was "very high". He then added "quite high". In a November 2008 interview, Rossdale revealed that he had tried to contact the other members of Bush, "I reached out to them".
Reunion and The Sea of Memories (2010–2013)
On 22 June 2010, it was announced that Bush would play their first show in eight years at the second-annual Epicenter Music Festival in Fontana, California on 25 September 2010. A new album, then-titled Everything Always Now, was also announced as well as a new single "Afterlife". Founding members Nigel Pulsford and Dave Parsons both decided not to rejoin the band.
Pulsford's and Parsons' successors were Chris Traynor and Corey Britz respectively. Traynor had also stood in for Pulsford during the Golden State tour. The new line-up played seven shows in 2010, performing songs from Bush's previous four albums as well as a new song, "Afterlife".
Gavin announced on radio that their new album had been named The Sea of Memories and was released in September and managed to peak at No. 18 on the Billboard Top 200. The first single of the album, "The Sound of Winter" was released in July 2011 and reached number one on the Billboard Alternative Songs chart. On 19 November 2011, Bush performed a live set for "Guitar Center Sessions" on DirecTV. The episode included an interview with program host, Nic Harcourt. Their song "Into The Blue" was featured on The Avengers soundtrack album released on 1 May 2012. They toured with Nickelback on their Here and Now Tour.
Man on the Run (2014–2016)
On 26 March 2014, it was reported that Bush had begun recording their sixth studio album with producer Nick Raskulinecz. Gavin Rossdale announced on 18 August 2014 that the new album, Man on the Run, was available for pre-order in both digital and deluxe edition CD form. A day later, the band revealed that the lead single from the album would be "The Only Way Out". In November 2014 the band announced tour dates for the early months of 2015 beginning on 30 January. In June 2016, Bush released a music video for the new song "People At War".
Black and White Rainbows (2017–2019)
In January 2017, it was reported that Bush had mastered and completed work on their seventh studio album. On 6 February 2017, the band announced the title, release date of 10 March 2017, and track listing for their seventh studio album, Black and White Rainbows. The lead single from the album, "Mad Love", was released the same day.
On 2 April 2018 a tour of the United States of America, called Revolution 3 Tour, was announced for the summer. They performed as co-headliners with Stone Temple Pilots and The Cult.
Rossdale also revealed that he was working on some material called "heavier" than the recent productions in anticipation of a forthcoming band album.
The Kingdom (2019–present)
In May 2019, Bush set The Mind Plays Tricks on You as the title of their new studio album, tentatively due in early 2020.
Drummer Robin Goodridge departed from the band in 2019. With Goodridge's departure, Rossdale became the only original member of Bush remaining in the band.
On 10 May 2019, it was announced that a song, "Bullet Holes", would feature in the film John Wick: Chapter 3 – Parabellum. The song and music video were released on 17 May 2019. Rossdale claimed in late May that the new album, featuring songwriting from Tyler Bates, was influenced by Bush's presence on music festivals dominated by primarily metal bands, and that he had been specifically listening to System of a Down during the writing process for the new album.
On 3 March 2020 the band released a new single, "Flowers on a Grave" and announced their new album was re-titled The Kingdom. The album was released on 17 July 2020.
Musical style and influences
Bush have been described as post-grunge, grunge, alternative rock, and hard rock. One of the first bands to be described as post-grunge, Bush were labeled almost pejoratively as such. Matt Diehl of Rolling Stone described Bush as "the most successful and shameless mimics of Nirvana's music". In the book Fargo Rock City: A Heavy Metal Odyssey in Rural North Dakota, Chuck Klosterman wrote, "Bush was a good band who just happened to signal the beginning of the end; ultimately, they would become the grunge Warrant". In the book Accidental Revolution: The Story of Grunge, Kyle Anderson wrote about Bush's album Sixteen Stone, writing:
Bush have noted Nirvana's music as a key influence in their work, but remained insistent that their style is original. Talking to The Morning Call in February 1996, lead guitarist Nigel Pulsford remarked "Nirvana was a big influence. They acted as a catalyst, put the guitar band back in vogue and inspired us to perform". Of the similarities in the music of the two acts, Gavin Rossdale told Rolling Stone that he "hoped" there was an element of Nirvana in Bush but also that felt he "had [his] own thing". In 2011, Rossdale proclaimed Pixies as "the most influential band" to him. In addition, members of Bush have cited artists including The Beatles, Big Black, David Bowie, Bob Dylan, PJ Harvey, Hole, Hüsker Dü, Jane's Addiction, My Bloody Valentine, Led Zeppelin, Tom Petty, The Replacements, Sex Pistols, Smashing Pumpkins, Sonic Youth, Soul Asylum, Soundgarden, and Neil Young as influential or inspirational.
Band members
Current
Gavin Rossdale – lead vocals, rhythm guitar (1992–2002, 2010–present)
Chris Traynor – lead guitar (2002, 2010–present), backing vocals (2002)
Corey Britz – bass, backing vocals (2010–present)
Nik Hughes – drums (2019–present)
Former
Nigel Pulsford – lead guitar, backing vocals (1992–2002)
Dave Parsons – bass (1992–2002)
Robin Goodridge – drums (1993–2002, 2010–2019)
Touring musicians
Sacha Puttnam – keyboards, piano, backing vocals (2002)
Sibyl Buck – bass (2012, 2013)
Timeline
Discography
Sixteen Stone (1994)
Razorblade Suitcase (1996)
The Science of Things (1999)
Golden State (2001)
The Sea of Memories (2011)
Man on the Run (2014)
Black and White Rainbows (2017)
The Kingdom (2020)
Awards and nominations
American Music Awards
Grammy Awards
MTV Video Music Awards
MTV Movie Awards
References
External links
Allmusic entry
MTV biography
Atlantic Records artists
British post-grunge groups
English alternative rock groups
English grunge groups
Musical groups established in 1992
Musical groups disestablished in 2002
Musical groups reestablished in 2010
Musical groups from London
Sony Music Publishing artists
English hard rock musical groups
Musical quartets | false | [
"\"Destroyer\" is a song by British rock band The Kinks, written by Ray Davies. It was released as a track on the group's nineteenth album, Give the People What They Want, in August 1981, and was the album's lead single in the US. It was not released as a single in the UK.\n\nThe song features references to the band's earlier hits, including the riff from 1964's \"All Day and All of the Night\" and lyrics inspired by 1970's \"Lola\". Like other Kinks songs of the period, \"Destroyer\" features a heavier, rock-based sound. After being abandoned during the Low Budget sessions, the song was finally released on Give the People What They Want.\n\nBackground\n\"Destroyer\" was initially planned to appear on the band's previous album, Low Budget, appearing in early track listings of the in-progress album. However, the song was dropped from Low Budget because the band could not create a satisfactory mix.\n\n\"Destroyer\" was ultimately recorded at the Power Station studio. Drummer Mick Avory attributed the song's dense sound to the studio's audio dynamics; he said, \"We recorded that at the Power Station in New York in the ambient room, which had a great drum sound. The sound of the room can really affect what you’re doing. When you hear that sound slapping around that big room, you want to cut loose. That’s what I did.\"\n\nMusic and lyrics\n\"Destroyer\" features callbacks to previous Kinks songs, both lyrically and musically. The track borrows the main riff from The Kinks' 1964 song, \"All Day and All of the Night\", which was one of the band's first hits. The lyrics feature the return of the transvestite title character from The Kinks' 1970 hit song, \"Lola\"; in \"Destroyer\", the singer brings Lola to his place where he becomes increasingly paranoid.\n\nAccording to Modern Drummer'''s Patrick Berkery, the song features a \"metallic\" sound that reflects the band's \"louder and more riff oriented\" sound during the late 1970s and early 1980s. Berkery notes Mick Avory's \"trashier fills\" and \"bigger [drum] sound that was miles removed from the lighter touch of his early days.\"\n\nRelease and reception\nThe track was chosen as the lead single from the album in the US (\"Better Things\" was the lead single in the UK), although it was released after the album in September. In 1982, the single reached #3 on the Billboard'' Rock Top Tracks chart and #85 on the Billboard Hot 100.\n\nIn the UK, the track was available only when the album was released there in January 1982.\n\nReferences\n\nThe Kinks songs\nSongs written by Ray Davies\n1981 singles\nArista Records singles\nSong recordings produced by Ray Davies\n1981 songs",
"\"Sound of Free\" (alternately known as \"Settle Down\") is a song performed by American musicians Dennis Wilson and Daryl Dragon (the latter credited as \"Rumbo\") that was written by Wilson and Mike Love. It was released by Stateside Records as a British-exclusive single on December 4, 1970. The B-side was \"Lady\". In 2013, \"Sound of Free\" was officially released on CD for the first time on the Beach Boys' box set Made in California.\n\nWriting in his 1978 biography of the band John Tobler said, \"No-one seems to have ever asked Dennis what the idea was behind this burst of independence, but it's possible that there's some connection with the fact that Sunflower, and in fact Surf's Up ... were released in Britain on the Stateside label.\"\n\nIn 2021, a remaster of the song was included on the compilation Feel Flows. A stereo mix was not created because the multitrack tape had been lost.\n\nReferences\n\nExternal links\n \n\n1970 singles\nDennis Wilson songs\nSongs written by Dennis Wilson\nSong recordings produced by Dennis Wilson\nSongs written by Mike Love"
]
|
[
"Robert Hughes (critic)",
"Personal life"
]
| C_235084fc8b5544fc891c4164fca11aae_0 | What was something he did in his personal life? | 1 | What was something Robert Hughes (critic) did in his personal life? | Robert Hughes (critic) | Hughes met his first wife, Danne Emerson, in London in 1967. Together they became involved in the counterculture of the 1960s, exploring drug use and sexual freedom. They divorced in 1981; she died of a brain tumor in 2003. Their son, Danton, Hughes's only child, was named after the French revolutionary Georges Danton. Danton Hughes, a sculptor, committed suicide in April 2001. He had been in a long term relationship with fashion designer Jenny Kee, who found his body on 15 April. Robert Hughes later wrote: "I miss Danton and always will, although we had been miserably estranged for years and the pain of his loss has been somewhat blunted by the passage of time". Hughes was married to his second wife, Victoria Whistler, a housewife from California, from 1981 until a divorce in 1996. In 1999, Hughes was involved in a near-fatal car accident south of Broome, Western Australia. He was returning from a fishing trip and driving on the wrong side of the road when he collided head on with another car carrying three occupants. He was trapped in the car for three hours before being airlifted to Perth in critical condition. Hughes was in a coma for five weeks after the crash. In a 2000 court hearing, Hughes's defence barrister alleged that the occupants of the other car had been transporting illicit drugs at the time of the accident and were at fault. In 2003 Hughes pleaded guilty to dangerous driving causing bodily harm and was fined A$2,500. He also allegedly described the crown prosecutor, Lloyd Rayney, as a "curry muncher", which resulted in a defamation action and out-of-court settlement. Hughes recounts the story of the accident and his recovery in the first chapter of his 2006 memoir Things I Didn't Know. In 2001, Hughes wed his third wife, the American artist and art director Doris Downes. "Apart from being a talented painter, she saved my life, my emotional stability, such as it is", he said. CANNOTANSWER | Hughes met his first wife, Danne Emerson, in London in 1967. | Robert Studley Forrest Hughes AO (28 July 19386 August 2012) was an Australian-born art critic, writer, and producer of television documentaries. He was described in 1997 by Robert Boynton of The New York Times as "the most famous art critic in the world."
Hughes earned widespread recognition for his book and television series on modern art, The Shock of the New, and for his longstanding position as art critic with TIME magazine. He is also known for his best seller The Fatal Shore (1986), a study of the British convict system in early Australian history. Known for his contentious critiques of art and artists, Hughes was generally conservative in his tastes, although he did not belong to a particular philosophical camp. His writing was noted for its power and elegance.
Early life
Hughes was born in Sydney, Australia, in 1938. His father and paternal grandfather were lawyers. Hughes's father, Geoffrey Forrest Hughes, was a pilot in the First World War, with later careers as a solicitor and company director. He died from lung cancer when Robert was aged 12. His mother was Margaret Eyre Sealy, née Vidal. His elder brother was Australian politician Thomas Eyre Forrest Hughes, the father of former Sydney Lord Mayor Lucy Turnbull, the wife of former Australian Prime Minister Malcolm Turnbull. He had another brother Geoffrey and one sister, Constance.
Growing up in Rose Bay, Sydney, Hughes was educated at Saint Ignatius' College, Riverview before studying arts and then architecture at the University of Sydney. At university, he associated with the Sydney "Push" – a group of artists, writers, intellectuals and drinkers. Among the group were Germaine Greer and Clive James.
Career
As an art critic
Hughes, an aspiring artist and poet, abandoned his university endeavours to become first a cartoonist and then an art critic for the Sydney periodical The Observer, edited by Donald Horne. Hughes was briefly involved in the original Sydney version of Oz magazine and wrote art criticism for Nation and The Sunday Mirror.
In 1961, while still a student, Hughes was caught up in controversy when a number of his classmates demonstrated in a student newspaper article that he had published plagiarised poetry by Terence Tiller and others, and a drawing by Leonard Baskin.
Hughes left Australia for Europe in 1964, living for a time in Italy before settling in London in 1965, where he wrote for The Spectator, The Daily Telegraph, The Times, and The Observer, among others, and contributed to the London version of Oz. In 1970 he was appointed art critic for TIME magazine and moved to New York, where he soon became an influential voice.
In 1966 Hughes published a history of Australian painting titled The Art of Australia, still considered an important work.
Hughes wrote and narrated the BBC eight-part series The Shock of the New (1980) on the development of modern art since the Impressionists. It was produced and in part directed by Lorna Pegram. It was accompanied by a book with the same title. John O'Connor of The New York Times said, "Agree or disagree, you will not be bored. Mr. Hughes has a disarming way of being provocative."
Hughes's TV series American Visions (1997) reviewed the history of American art since the Revolution. Hughes's documentary on Francisco Goya, Goya: Crazy Like a Genius (2002), was broadcast on the first night of the new British domestic digital service, BBC Four. He created a one-hour update to The Shock of the New, titled The New Shock of the New, which first aired in 2004. He published the first volume of his memoirs, Things I Didn’t Know, in 2006.
As a journalist and historian
Hughes and Harold Hayes were recruited in 1978 to anchor the new ABC News (US) newsmagazine 20/20. His only broadcast, on 6 June 1978, proved so controversial that, less than a week later, ABC News president Roone Arledge terminated the contracts of both men, replacing them with veteran TV host Hugh Downs.
Hughes's book The Fatal Shore followed in 1987. A study of the British penal colonies and early European settlement of Australia, it became an international best-seller. During the late 1990s, Hughes was a prominent supporter of the Australian Republican Movement. Australia: Beyond the Fatal Shore (2000) was a series musing on modern Australia and Hughes's relationship with it. During production, Hughes was involved in a near-fatal road accident.
Personal life
Hughes met his first wife, Danne Emerson, in London in 1967. Together they became involved in the counterculture of the 1960s, exploring drug use and sexual freedom. They divorced in 1981; she died of a brain tumour in 2003. Their son, Danton, Hughes's only child, was named after the French revolutionary Georges Danton. Danton Hughes, a sculptor, committed suicide in April 2001; he was found by his partner, fashion designer Jenny Kee, with whom he had been in a long-term relationship. Robert Hughes later wrote: "I miss Danton and always will, although we had been miserably estranged for years and the pain of his loss has been somewhat blunted by the passage of time".
Hughes was married to his second wife, Victoria Whistler, from 1981 until a divorce in 1996.
In 1999, Hughes was involved in a near-fatal car accident south of Broome, Western Australia. He was returning from a fishing trip and driving on the wrong side of the road when he collided head on with another car carrying three occupants. He was trapped in the car for three hours before being airlifted to Perth in critical condition. Hughes was in a coma for five weeks after the crash. In a 2000 court hearing, Hughes's defence barrister alleged that the occupants of the other car had been transporting illicit drugs at the time of the accident and were at fault. In 2003 Hughes pleaded guilty to dangerous driving causing bodily harm and was fined A$2,500. He also allegedly described the crown prosecutor, Lloyd Rayney, as a "curry muncher", which resulted in a defamation action and out-of-court settlement. Hughes recounts the story of the accident and his recovery in the first chapter of his 2006 memoir Things I Didn't Know.
In 2001, Hughes wed his third wife, the American artist and art director Doris Downes. "Apart from being a talented painter, she saved my life, my emotional stability, such as it is", he said.
Death
After a long illness, Hughes died at Calvary Hospital in The Bronx, New York, on 6 August 2012, with his wife at his bedside. He was also survived by two stepsons from his wife's previous marriage, Freeborn Garrettson Jewett IV and Fielder Douglas Jewett; his brothers, Tom and Geoffrey Hughes; a sister, Constance Crisp; and many nieces and nephews.
Assessment
When The Shock of the New was proposed to the BBC, television programmers were sceptical that a journalist could properly follow the aristocratic tone of Kenneth Clark, whose Civilisation had been so successful. The Shock of the New proved to be a popular and critical success: it has been assessed "much the best synoptic introduction to modern art ever written", taking as its premise the vitality gained by modern art when it ceded the need to replicate nature in favour of a more direct expression of human experience and emotion. Hughes's explanations of modern art benefited from the coherence of his judgments, and were marked by his ability to summarise the essential qualities of his subject.
Whether positive or negative, his judgments were enthusiastic. He championed London painters like Frank Auerbach and Lucian Freud, helping to popularise the latter in the United States, and wrote with unabashed admiration for Francisco Goya and Pierre Bonnard. By contrast Hughes was dismissive of much postmodernism and neo-expressionism, of painters like Julian Schnabel and David Salle, as well as the vicissitudes of a money-fuelled art market. While his reviews expressed antipathy for the avant-garde, he was beholden neither to any theory nor ideology, and managed to provoke both ends of the political spectrum. He distrusted novelty in art for its own sake, yet he was also disdainful of a conservative aesthetic that avoided risk. Hughes, according to Adam Gopnik, was drawn to work that was rough-hewn, "craft attempted with passion."
Hughes's critical prose, vivid in both praise and indignation, has been compared to that of George Bernard Shaw, Jonathan Swift and William Shakespeare. "His prose", according to a colleague, "was lithe, muscular and fast as a bunch of fives. He was incapable of writing the jargon of the art world, and consequently was treated by its mandarins with fear and loathing." In different moods he could write that "Schnabel’s work is to painting what Stallone’s is to acting: a lurching display of oily pectorals," as well as conclude that Antoine Watteau "was a connoisseur of the unplucked string, the immobility before the dance, the moment that falls between departure and nostalgia."
Artist Jakob Zaaiman has criticised Hughes's grasp of contemporary art, arguing that he was unable to see beyond a narrow and blinkered classical aestheticism, and so failed to appreciate its theatrical and narrative possibilities. This was said to be particularly evident in his views of Andy Warhol.
Honours
Bibliography
Books
(Condensed version of Barcelona)
Critical studies and reviews
Biographies
Anderson, Patricia (2009). Robert Hughes: The Australian Years, Sydney: Pandora Press;
Britain, Ian (1997). Once An Australian: Journeys with Barry Humphries, Clive James, Germaine Greer and Robert Hughes, Oxford University Press;
Notes
External links
Robert Hughes at Random House Australia
Valerie Lawson, Sydney Morning Herald, "After legal jousting and vitriol, Hughes fined in absentia for car crash" (2003)
Eric Ellis, The Bulletin, July 2002, "Shock of the Broome"
1987 audio interview of Robert Hughes by Don Swaim of CBS Radio, RealAudio
The New York Times Magazine – Food: Tuna Surprise (A fisherman's journey to Costa Rica)
The Nation – Christopher Hitchens column on Things I Didn't Know: A Memoir. (25 September 2006)
Enough Rope, ABC TV Interview – Andrew Denton and Robert Hughes. (13 November 2006)
with Hughes on CBC Radio's Writers and Company (January 2008)]
Robert Hughes interviewed on Charlie Rose
World Socialist Web Site obituary by Clare Hurley, "Art History with a capital A and H: Art critic and social historian Robert Hughes"
1938 births
2012 deaths
Australian art historians
Australian art critics
Time (magazine) people
Australian media personalities
Australian historians
Australian memoirists
Australian people of Irish descent
Australian republicans
Historians of Australia
Officers of the Order of Australia
Australian expatriates in the United States
University of Sydney alumni
Frank Jewett Mather Award winners
People educated at Saint Ignatius' College, Riverview
People from Briarcliff Manor, New York
20th-century Australian historians | true | [
"\"What Did I Do to You?\" is a song recorded by British singer Lisa Stansfield for her 1989 album, Affection. It was written by Stansfield, Ian Devaney and Andy Morris, and produced by Devaney and Morris. The song was released as the fourth European single on 30 April 1990. It included three previously unreleased songs written by Stansfield, Devaney and Morris: \"My Apple Heart,\" \"Lay Me Down\" and \"Something's Happenin'.\" \"What Did I Do to You?\" was remixed by Mark Saunders and by the Grammy Award-winning American house music DJ and producer, David Morales. The single became a top forty hit in the European countries reaching number eighteen in Finland, number twenty in Ireland and number twenty-five in the United Kingdom. \"What Did I Do to You?\" was also released in Japan.\n\nIn 2014, the remixes of \"What Did I Do to You?\" were included on the deluxe 2CD + DVD re-release of Affection and on People Hold On ... The Remix Anthology. They were also featured on The Collection 1989–2003 box set (2014), including previously unreleased Red Zone Mix by David Morales.\n\nCritical reception\nThe song received positive reviews from music critics. Matthew Hocter from Albumism viewed it as a \"upbeat offering\". David Giles from Music Week said it is \"beautifully performed\" by Stansfield. A reviewer from Reading Eagle wrote that \"What Did I Do to You?\" \"would be right at home on the \"Saturday Night Fever\" soundtrack.\"\n\nMusic video\nA music video was produced to promote the single, directed by Philip Richardson, who had previously directed the videos for \"All Around the World\" and \"Live Together\". It features Stansfield with her kiss curls, dressed in a white outfit and performing with her band on a stage in front of a jumping audience. The video was later published on Stansfield's official YouTube channel in November 2009. It has amassed more than 1,6 million views as of October 2021.\n\nTrack listings\n\n European/UK 7\" single\n\"What Did I Do to You?\" (Mark Saunders Remix Edit) – 4:20\n\"Something's Happenin'\" – 3:59\n\n European/UK/Japanese CD single\n\"What Did I Do to You?\" (Mark Saunders Remix Edit) – 4:20\n\"My Apple Heart\" – 5:19\n\"Lay Me Down\" – 4:17\n\"Something's Happenin'\" – 3:59\n\n UK 10\" single\n\"What Did I Do to You?\" (Mark Saunders Remix) – 5:52\n\"My Apple Heart\" – 5:19\n\"Lay Me Down\" – 4:17\n\"Something's Happenin'\" – 3:59\n\n European/UK 12\" single\n\"What Did I Do to You?\" (Morales Mix) – 7:59\n\"My Apple Heart\" – 4:22\n\"Lay Me Down\" – 3:19\n\"Something's Happenin'\" – 3:15\n\n UK 12\" promotional single\n\"What Did I Do to You?\" (Morales Mix) – 7:59\n\"What Did I Do to You?\" (Anti Poll Tax Dub) – 6:31\n\n Other remixes\n\"What Did I Do to You?\" (Red Zone Mix) – 7:45\n\nCharts\n\nReferences\n\nLisa Stansfield songs\n1990 singles\nSongs written by Lisa Stansfield\n1989 songs\nArista Records singles\nSongs written by Ian Devaney\nSongs written by Andy Morris (musician)",
"Mukul Chadda is an Indian actor who works in Hindi cinema.\n\nEarly life and education\nMukul was born in Chennai, Tamil Nadu. He is an MBA from IIM Ahmedabad and it was after working in a bank in New York City that he decided to take his passion for acting forward. Even while he was in New York City, he take part-time classes at Lee Strasberg Theatre and Film Institute. He did shows and he would rehearse on weekends. Then he left his job and came to India. His plan was to try it out for a year or two and see what happens next. Then he did it for longer and after he did a bunch of advertisements and other stuff then he realized that acting was paying his bills, so he continued acting.\n\nPersonal life\nMukul has been married to actress Rasika Dugal since 2010.\n\nFilmography\n\nFilms\n\nWeb Series\n\nAwards and nominations\n\nReferences\n\nExternal links\n\nIndian male actors\nLiving people\nYear of birth missing (living people)\nIndian male film actors\nMale actors in Hindi cinema\nMale actors from Mumbai\nIndian stage actors\n \nIndian Institute of Management Ahmedabad\nIndian Institute of Management Ahmedabad\nIndian Institutes of Management alumni"
]
|
[
"Robert Hughes (critic)",
"Personal life",
"What was something he did in his personal life?",
"Hughes met his first wife, Danne Emerson, in London in 1967."
]
| C_235084fc8b5544fc891c4164fca11aae_0 | When did they get married? | 2 | When did Robert Hughes (critic) and Danne Emerson get married? | Robert Hughes (critic) | Hughes met his first wife, Danne Emerson, in London in 1967. Together they became involved in the counterculture of the 1960s, exploring drug use and sexual freedom. They divorced in 1981; she died of a brain tumor in 2003. Their son, Danton, Hughes's only child, was named after the French revolutionary Georges Danton. Danton Hughes, a sculptor, committed suicide in April 2001. He had been in a long term relationship with fashion designer Jenny Kee, who found his body on 15 April. Robert Hughes later wrote: "I miss Danton and always will, although we had been miserably estranged for years and the pain of his loss has been somewhat blunted by the passage of time". Hughes was married to his second wife, Victoria Whistler, a housewife from California, from 1981 until a divorce in 1996. In 1999, Hughes was involved in a near-fatal car accident south of Broome, Western Australia. He was returning from a fishing trip and driving on the wrong side of the road when he collided head on with another car carrying three occupants. He was trapped in the car for three hours before being airlifted to Perth in critical condition. Hughes was in a coma for five weeks after the crash. In a 2000 court hearing, Hughes's defence barrister alleged that the occupants of the other car had been transporting illicit drugs at the time of the accident and were at fault. In 2003 Hughes pleaded guilty to dangerous driving causing bodily harm and was fined A$2,500. He also allegedly described the crown prosecutor, Lloyd Rayney, as a "curry muncher", which resulted in a defamation action and out-of-court settlement. Hughes recounts the story of the accident and his recovery in the first chapter of his 2006 memoir Things I Didn't Know. In 2001, Hughes wed his third wife, the American artist and art director Doris Downes. "Apart from being a talented painter, she saved my life, my emotional stability, such as it is", he said. CANNOTANSWER | 1967. | Robert Studley Forrest Hughes AO (28 July 19386 August 2012) was an Australian-born art critic, writer, and producer of television documentaries. He was described in 1997 by Robert Boynton of The New York Times as "the most famous art critic in the world."
Hughes earned widespread recognition for his book and television series on modern art, The Shock of the New, and for his longstanding position as art critic with TIME magazine. He is also known for his best seller The Fatal Shore (1986), a study of the British convict system in early Australian history. Known for his contentious critiques of art and artists, Hughes was generally conservative in his tastes, although he did not belong to a particular philosophical camp. His writing was noted for its power and elegance.
Early life
Hughes was born in Sydney, Australia, in 1938. His father and paternal grandfather were lawyers. Hughes's father, Geoffrey Forrest Hughes, was a pilot in the First World War, with later careers as a solicitor and company director. He died from lung cancer when Robert was aged 12. His mother was Margaret Eyre Sealy, née Vidal. His elder brother was Australian politician Thomas Eyre Forrest Hughes, the father of former Sydney Lord Mayor Lucy Turnbull, the wife of former Australian Prime Minister Malcolm Turnbull. He had another brother Geoffrey and one sister, Constance.
Growing up in Rose Bay, Sydney, Hughes was educated at Saint Ignatius' College, Riverview before studying arts and then architecture at the University of Sydney. At university, he associated with the Sydney "Push" – a group of artists, writers, intellectuals and drinkers. Among the group were Germaine Greer and Clive James.
Career
As an art critic
Hughes, an aspiring artist and poet, abandoned his university endeavours to become first a cartoonist and then an art critic for the Sydney periodical The Observer, edited by Donald Horne. Hughes was briefly involved in the original Sydney version of Oz magazine and wrote art criticism for Nation and The Sunday Mirror.
In 1961, while still a student, Hughes was caught up in controversy when a number of his classmates demonstrated in a student newspaper article that he had published plagiarised poetry by Terence Tiller and others, and a drawing by Leonard Baskin.
Hughes left Australia for Europe in 1964, living for a time in Italy before settling in London in 1965, where he wrote for The Spectator, The Daily Telegraph, The Times, and The Observer, among others, and contributed to the London version of Oz. In 1970 he was appointed art critic for TIME magazine and moved to New York, where he soon became an influential voice.
In 1966 Hughes published a history of Australian painting titled The Art of Australia, still considered an important work.
Hughes wrote and narrated the BBC eight-part series The Shock of the New (1980) on the development of modern art since the Impressionists. It was produced and in part directed by Lorna Pegram. It was accompanied by a book with the same title. John O'Connor of The New York Times said, "Agree or disagree, you will not be bored. Mr. Hughes has a disarming way of being provocative."
Hughes's TV series American Visions (1997) reviewed the history of American art since the Revolution. Hughes's documentary on Francisco Goya, Goya: Crazy Like a Genius (2002), was broadcast on the first night of the new British domestic digital service, BBC Four. He created a one-hour update to The Shock of the New, titled The New Shock of the New, which first aired in 2004. He published the first volume of his memoirs, Things I Didn’t Know, in 2006.
As a journalist and historian
Hughes and Harold Hayes were recruited in 1978 to anchor the new ABC News (US) newsmagazine 20/20. His only broadcast, on 6 June 1978, proved so controversial that, less than a week later, ABC News president Roone Arledge terminated the contracts of both men, replacing them with veteran TV host Hugh Downs.
Hughes's book The Fatal Shore followed in 1987. A study of the British penal colonies and early European settlement of Australia, it became an international best-seller. During the late 1990s, Hughes was a prominent supporter of the Australian Republican Movement. Australia: Beyond the Fatal Shore (2000) was a series musing on modern Australia and Hughes's relationship with it. During production, Hughes was involved in a near-fatal road accident.
Personal life
Hughes met his first wife, Danne Emerson, in London in 1967. Together they became involved in the counterculture of the 1960s, exploring drug use and sexual freedom. They divorced in 1981; she died of a brain tumour in 2003. Their son, Danton, Hughes's only child, was named after the French revolutionary Georges Danton. Danton Hughes, a sculptor, committed suicide in April 2001; he was found by his partner, fashion designer Jenny Kee, with whom he had been in a long-term relationship. Robert Hughes later wrote: "I miss Danton and always will, although we had been miserably estranged for years and the pain of his loss has been somewhat blunted by the passage of time".
Hughes was married to his second wife, Victoria Whistler, from 1981 until a divorce in 1996.
In 1999, Hughes was involved in a near-fatal car accident south of Broome, Western Australia. He was returning from a fishing trip and driving on the wrong side of the road when he collided head on with another car carrying three occupants. He was trapped in the car for three hours before being airlifted to Perth in critical condition. Hughes was in a coma for five weeks after the crash. In a 2000 court hearing, Hughes's defence barrister alleged that the occupants of the other car had been transporting illicit drugs at the time of the accident and were at fault. In 2003 Hughes pleaded guilty to dangerous driving causing bodily harm and was fined A$2,500. He also allegedly described the crown prosecutor, Lloyd Rayney, as a "curry muncher", which resulted in a defamation action and out-of-court settlement. Hughes recounts the story of the accident and his recovery in the first chapter of his 2006 memoir Things I Didn't Know.
In 2001, Hughes wed his third wife, the American artist and art director Doris Downes. "Apart from being a talented painter, she saved my life, my emotional stability, such as it is", he said.
Death
After a long illness, Hughes died at Calvary Hospital in The Bronx, New York, on 6 August 2012, with his wife at his bedside. He was also survived by two stepsons from his wife's previous marriage, Freeborn Garrettson Jewett IV and Fielder Douglas Jewett; his brothers, Tom and Geoffrey Hughes; a sister, Constance Crisp; and many nieces and nephews.
Assessment
When The Shock of the New was proposed to the BBC, television programmers were sceptical that a journalist could properly follow the aristocratic tone of Kenneth Clark, whose Civilisation had been so successful. The Shock of the New proved to be a popular and critical success: it has been assessed "much the best synoptic introduction to modern art ever written", taking as its premise the vitality gained by modern art when it ceded the need to replicate nature in favour of a more direct expression of human experience and emotion. Hughes's explanations of modern art benefited from the coherence of his judgments, and were marked by his ability to summarise the essential qualities of his subject.
Whether positive or negative, his judgments were enthusiastic. He championed London painters like Frank Auerbach and Lucian Freud, helping to popularise the latter in the United States, and wrote with unabashed admiration for Francisco Goya and Pierre Bonnard. By contrast Hughes was dismissive of much postmodernism and neo-expressionism, of painters like Julian Schnabel and David Salle, as well as the vicissitudes of a money-fuelled art market. While his reviews expressed antipathy for the avant-garde, he was beholden neither to any theory nor ideology, and managed to provoke both ends of the political spectrum. He distrusted novelty in art for its own sake, yet he was also disdainful of a conservative aesthetic that avoided risk. Hughes, according to Adam Gopnik, was drawn to work that was rough-hewn, "craft attempted with passion."
Hughes's critical prose, vivid in both praise and indignation, has been compared to that of George Bernard Shaw, Jonathan Swift and William Shakespeare. "His prose", according to a colleague, "was lithe, muscular and fast as a bunch of fives. He was incapable of writing the jargon of the art world, and consequently was treated by its mandarins with fear and loathing." In different moods he could write that "Schnabel’s work is to painting what Stallone’s is to acting: a lurching display of oily pectorals," as well as conclude that Antoine Watteau "was a connoisseur of the unplucked string, the immobility before the dance, the moment that falls between departure and nostalgia."
Artist Jakob Zaaiman has criticised Hughes's grasp of contemporary art, arguing that he was unable to see beyond a narrow and blinkered classical aestheticism, and so failed to appreciate its theatrical and narrative possibilities. This was said to be particularly evident in his views of Andy Warhol.
Honours
Bibliography
Books
(Condensed version of Barcelona)
Critical studies and reviews
Biographies
Anderson, Patricia (2009). Robert Hughes: The Australian Years, Sydney: Pandora Press;
Britain, Ian (1997). Once An Australian: Journeys with Barry Humphries, Clive James, Germaine Greer and Robert Hughes, Oxford University Press;
Notes
External links
Robert Hughes at Random House Australia
Valerie Lawson, Sydney Morning Herald, "After legal jousting and vitriol, Hughes fined in absentia for car crash" (2003)
Eric Ellis, The Bulletin, July 2002, "Shock of the Broome"
1987 audio interview of Robert Hughes by Don Swaim of CBS Radio, RealAudio
The New York Times Magazine – Food: Tuna Surprise (A fisherman's journey to Costa Rica)
The Nation – Christopher Hitchens column on Things I Didn't Know: A Memoir. (25 September 2006)
Enough Rope, ABC TV Interview – Andrew Denton and Robert Hughes. (13 November 2006)
with Hughes on CBC Radio's Writers and Company (January 2008)]
Robert Hughes interviewed on Charlie Rose
World Socialist Web Site obituary by Clare Hurley, "Art History with a capital A and H: Art critic and social historian Robert Hughes"
1938 births
2012 deaths
Australian art historians
Australian art critics
Time (magazine) people
Australian media personalities
Australian historians
Australian memoirists
Australian people of Irish descent
Australian republicans
Historians of Australia
Officers of the Order of Australia
Australian expatriates in the United States
University of Sydney alumni
Frank Jewett Mather Award winners
People educated at Saint Ignatius' College, Riverview
People from Briarcliff Manor, New York
20th-century Australian historians | true | [
"Marriage leave is the legal right to enjoy leave of absence by an employee due to them getting married without loss of wages. Irish civil servants are entitled 5 days. In Malta, every employee is entitled to 2 days' marriage leave. In Vietnam, according to the Labor Code, an employee is entitled to 3 days of paid leave when they get married, and 1 day of paid leave when a child of theirs get married. They are also entitled to 1 day of unpaid leave when their father, mother, natural brother or sister gets married.\n\nSee also\nHoneymoon\n\nReferences\n\nMarriage\nIntimate relationships\nLabor\nHolidays\nSocial programs\nDemography\nFamily\nFamily law\nMarriage law",
"Get Married 2 is a 2009 Indonesian romantic comedy directed by Hanung Bramantyo and starring Nirina Zubir and Nino Fernandez. A sequel to the 2007 hit Get Married, it details the efforts of Mae and Rendy to have children.\n\nAlthough Bramantyo initially did not intend to make a sequel, he was convinced after reading the treatment by Cassandra Massardi. The film, in which most of the original cast returned, was released on 18 September and viewed by 1.2 million persons. Critical reception was mixed, although the film did receive an award at the 2010 Bandung Film Festival. Another sequel, Get Married 3, was released in 2011.\n\nPlot\nAfter four years of marriage, Mae (Nirina Zubir) and Rendy (Nino Fernandez) are childless. Meanwhile, her best friends Eman (Aming), Guntoro (Deddy Mahendra Desta) and Beni (Ringgo Agus Rahman) have already married and had children. This makes Mae feel pressured to quickly have a child and stresses her greatly. When Rendy forgets to come to a dinner celebrating their wedding anniversary, Mae is fed up and moves in with her parents, who try and convince her to leave Rendy.\n\nMae decides to try and work out her issues with Rendy, and the two begin working incessantly towards having a child. When that is unsuccessful, Mae decides that her tomboyish appearance is causing Rendy to be infertile. As such, she decides to surprise him by visiting his office after putting on make-up. However, she sees Rendy together with another woman, Vivi (Marissa Nasution) and walks out, saying that she wants a divorce. Rendy asks his mother (Ira Wibowo) to bring Mae back. However, both families fight, leaving Mae and Rendy separated.\n\nMae feels distraught without Rendy and often cries when she thinks nobody is watching. Eman, Guntoro, and Beni unsuccessfully try to cheer her up. Mae, trying to live independently, takes a job as a valet but faints at work; she discovers that she is pregnant. Rendy, not allowed to come near her, tasks the trio with watching over her. As Mae is very demanding and watching over her is very time consuming, Eman, Guntoro, and Beni are almost divorced by their wives. Mae furtively begins meeting with Rendy, as her parents still want her to divorce him. She discovers that he has not been having an affair, and they reunite. Mae later gives birth to triplets, as both families look on happily.\n\nProduction\nThe film was directed by Hanung Bramantyo, a Yogyakarta-born director who had recently directed numerous Islamic-themed films, including the blockbuster Ayat-Ayat Cinta (Verses of Love) the previous year. Bramantyo's betrothed, Zaskia Adya Mecca, worked part-time as a casting director. Bramantyo later stated that he was interested in comedies about marriage, generally considered a serious subject in Indonesia, as \"nobody understood marriage\", from the President to a pedicab driver.\n\nGet Married 2 was a sequel to Bramantyo's 2007 film, Get Married, which detailed how Mae and Rendy fell in love. The film had been a critical and commercial success, being viewed by 1.4 million people and winning Bramantyo a Citra Award for Best Director at the 2007 Indonesian Film Festival. Initially, Bramantyo did not want to make a sequel. However, when he read Cassandra Massardi's treatment, he agreed. Most of the main cast from the first film – Nirina Zubir, Ringgo Agus Rahman, Aming, and Deddy Mahendra Desta – reprised their original roles. However, the Indo actor Nino Fernandez replaced Richard Kevin as Rendy.\n\nThe rock band Slank was contracted to provide the soundtrack. Although the band had previously had negative experiences when acting in Generasi Biru (The Blue Generation; 2009), they agreed to work on Get Married 2 as they were not required to act. They recorded a total of twelve songs for the film, including two new ones.\n\nRelease and reception\nGet Married 2 was released on 18 September 2009, four days after Bramantyo's marriage with Mecca and towards the Eid ul-Fitr holidays. It was one of four Indonesian films released before the holidays, the others being Ketika Cinta Bertasbih 2 (When Love Prays 2), Preman in Love and the animated Meraih Mimpi (Chasing Dreams). Get Married 2 was a commercial success, being viewed by 1.2 million persons; it was the fourth best-selling Indonesian film of 2009, behind Ketika Cinta Bertasbih, Ketika Cinta Bertasbih 2, and Garuda di Dadaku (Garuda on My Chest). The film won Best Poster at the 2010 Bandung Film Festival.\n\nThe reviewer for the Bali Post found the film enjoyable and praised the cast's performances. The review in Suara Pembaruan found the film very similar to the first, and complained that the comedy trio of Rahman, Aming, and Desta – major characters in the first film – were underdeveloped in the sequel.\n\nGet Married 2 was followed by Get Married 3, directed by Monty Tiwa and released in 2011. It followed Mae and Rendy's struggle to raise their triplets, with both families attempting to exert control. In the third instalment, a Pribumi actor, Fedi Nuril, played Rendy.\n\nReferences\n\nBibliography\n\nExternal links\n\n2009 romantic comedy films\n2009 films\nFilms directed by Hanung Bramantyo\nIndonesian films\nIndonesian sequel films\nIndonesian romantic comedy films"
]
|
[
"Robert Hughes (critic)",
"Personal life",
"What was something he did in his personal life?",
"Hughes met his first wife, Danne Emerson, in London in 1967.",
"When did they get married?",
"1967."
]
| C_235084fc8b5544fc891c4164fca11aae_0 | How long was they married? | 3 | How long were Robert Hughes (critic) and Danne Emerson married? | Robert Hughes (critic) | Hughes met his first wife, Danne Emerson, in London in 1967. Together they became involved in the counterculture of the 1960s, exploring drug use and sexual freedom. They divorced in 1981; she died of a brain tumor in 2003. Their son, Danton, Hughes's only child, was named after the French revolutionary Georges Danton. Danton Hughes, a sculptor, committed suicide in April 2001. He had been in a long term relationship with fashion designer Jenny Kee, who found his body on 15 April. Robert Hughes later wrote: "I miss Danton and always will, although we had been miserably estranged for years and the pain of his loss has been somewhat blunted by the passage of time". Hughes was married to his second wife, Victoria Whistler, a housewife from California, from 1981 until a divorce in 1996. In 1999, Hughes was involved in a near-fatal car accident south of Broome, Western Australia. He was returning from a fishing trip and driving on the wrong side of the road when he collided head on with another car carrying three occupants. He was trapped in the car for three hours before being airlifted to Perth in critical condition. Hughes was in a coma for five weeks after the crash. In a 2000 court hearing, Hughes's defence barrister alleged that the occupants of the other car had been transporting illicit drugs at the time of the accident and were at fault. In 2003 Hughes pleaded guilty to dangerous driving causing bodily harm and was fined A$2,500. He also allegedly described the crown prosecutor, Lloyd Rayney, as a "curry muncher", which resulted in a defamation action and out-of-court settlement. Hughes recounts the story of the accident and his recovery in the first chapter of his 2006 memoir Things I Didn't Know. In 2001, Hughes wed his third wife, the American artist and art director Doris Downes. "Apart from being a talented painter, she saved my life, my emotional stability, such as it is", he said. CANNOTANSWER | They divorced in 1981; | Robert Studley Forrest Hughes AO (28 July 19386 August 2012) was an Australian-born art critic, writer, and producer of television documentaries. He was described in 1997 by Robert Boynton of The New York Times as "the most famous art critic in the world."
Hughes earned widespread recognition for his book and television series on modern art, The Shock of the New, and for his longstanding position as art critic with TIME magazine. He is also known for his best seller The Fatal Shore (1986), a study of the British convict system in early Australian history. Known for his contentious critiques of art and artists, Hughes was generally conservative in his tastes, although he did not belong to a particular philosophical camp. His writing was noted for its power and elegance.
Early life
Hughes was born in Sydney, Australia, in 1938. His father and paternal grandfather were lawyers. Hughes's father, Geoffrey Forrest Hughes, was a pilot in the First World War, with later careers as a solicitor and company director. He died from lung cancer when Robert was aged 12. His mother was Margaret Eyre Sealy, née Vidal. His elder brother was Australian politician Thomas Eyre Forrest Hughes, the father of former Sydney Lord Mayor Lucy Turnbull, the wife of former Australian Prime Minister Malcolm Turnbull. He had another brother Geoffrey and one sister, Constance.
Growing up in Rose Bay, Sydney, Hughes was educated at Saint Ignatius' College, Riverview before studying arts and then architecture at the University of Sydney. At university, he associated with the Sydney "Push" – a group of artists, writers, intellectuals and drinkers. Among the group were Germaine Greer and Clive James.
Career
As an art critic
Hughes, an aspiring artist and poet, abandoned his university endeavours to become first a cartoonist and then an art critic for the Sydney periodical The Observer, edited by Donald Horne. Hughes was briefly involved in the original Sydney version of Oz magazine and wrote art criticism for Nation and The Sunday Mirror.
In 1961, while still a student, Hughes was caught up in controversy when a number of his classmates demonstrated in a student newspaper article that he had published plagiarised poetry by Terence Tiller and others, and a drawing by Leonard Baskin.
Hughes left Australia for Europe in 1964, living for a time in Italy before settling in London in 1965, where he wrote for The Spectator, The Daily Telegraph, The Times, and The Observer, among others, and contributed to the London version of Oz. In 1970 he was appointed art critic for TIME magazine and moved to New York, where he soon became an influential voice.
In 1966 Hughes published a history of Australian painting titled The Art of Australia, still considered an important work.
Hughes wrote and narrated the BBC eight-part series The Shock of the New (1980) on the development of modern art since the Impressionists. It was produced and in part directed by Lorna Pegram. It was accompanied by a book with the same title. John O'Connor of The New York Times said, "Agree or disagree, you will not be bored. Mr. Hughes has a disarming way of being provocative."
Hughes's TV series American Visions (1997) reviewed the history of American art since the Revolution. Hughes's documentary on Francisco Goya, Goya: Crazy Like a Genius (2002), was broadcast on the first night of the new British domestic digital service, BBC Four. He created a one-hour update to The Shock of the New, titled The New Shock of the New, which first aired in 2004. He published the first volume of his memoirs, Things I Didn’t Know, in 2006.
As a journalist and historian
Hughes and Harold Hayes were recruited in 1978 to anchor the new ABC News (US) newsmagazine 20/20. His only broadcast, on 6 June 1978, proved so controversial that, less than a week later, ABC News president Roone Arledge terminated the contracts of both men, replacing them with veteran TV host Hugh Downs.
Hughes's book The Fatal Shore followed in 1987. A study of the British penal colonies and early European settlement of Australia, it became an international best-seller. During the late 1990s, Hughes was a prominent supporter of the Australian Republican Movement. Australia: Beyond the Fatal Shore (2000) was a series musing on modern Australia and Hughes's relationship with it. During production, Hughes was involved in a near-fatal road accident.
Personal life
Hughes met his first wife, Danne Emerson, in London in 1967. Together they became involved in the counterculture of the 1960s, exploring drug use and sexual freedom. They divorced in 1981; she died of a brain tumour in 2003. Their son, Danton, Hughes's only child, was named after the French revolutionary Georges Danton. Danton Hughes, a sculptor, committed suicide in April 2001; he was found by his partner, fashion designer Jenny Kee, with whom he had been in a long-term relationship. Robert Hughes later wrote: "I miss Danton and always will, although we had been miserably estranged for years and the pain of his loss has been somewhat blunted by the passage of time".
Hughes was married to his second wife, Victoria Whistler, from 1981 until a divorce in 1996.
In 1999, Hughes was involved in a near-fatal car accident south of Broome, Western Australia. He was returning from a fishing trip and driving on the wrong side of the road when he collided head on with another car carrying three occupants. He was trapped in the car for three hours before being airlifted to Perth in critical condition. Hughes was in a coma for five weeks after the crash. In a 2000 court hearing, Hughes's defence barrister alleged that the occupants of the other car had been transporting illicit drugs at the time of the accident and were at fault. In 2003 Hughes pleaded guilty to dangerous driving causing bodily harm and was fined A$2,500. He also allegedly described the crown prosecutor, Lloyd Rayney, as a "curry muncher", which resulted in a defamation action and out-of-court settlement. Hughes recounts the story of the accident and his recovery in the first chapter of his 2006 memoir Things I Didn't Know.
In 2001, Hughes wed his third wife, the American artist and art director Doris Downes. "Apart from being a talented painter, she saved my life, my emotional stability, such as it is", he said.
Death
After a long illness, Hughes died at Calvary Hospital in The Bronx, New York, on 6 August 2012, with his wife at his bedside. He was also survived by two stepsons from his wife's previous marriage, Freeborn Garrettson Jewett IV and Fielder Douglas Jewett; his brothers, Tom and Geoffrey Hughes; a sister, Constance Crisp; and many nieces and nephews.
Assessment
When The Shock of the New was proposed to the BBC, television programmers were sceptical that a journalist could properly follow the aristocratic tone of Kenneth Clark, whose Civilisation had been so successful. The Shock of the New proved to be a popular and critical success: it has been assessed "much the best synoptic introduction to modern art ever written", taking as its premise the vitality gained by modern art when it ceded the need to replicate nature in favour of a more direct expression of human experience and emotion. Hughes's explanations of modern art benefited from the coherence of his judgments, and were marked by his ability to summarise the essential qualities of his subject.
Whether positive or negative, his judgments were enthusiastic. He championed London painters like Frank Auerbach and Lucian Freud, helping to popularise the latter in the United States, and wrote with unabashed admiration for Francisco Goya and Pierre Bonnard. By contrast Hughes was dismissive of much postmodernism and neo-expressionism, of painters like Julian Schnabel and David Salle, as well as the vicissitudes of a money-fuelled art market. While his reviews expressed antipathy for the avant-garde, he was beholden neither to any theory nor ideology, and managed to provoke both ends of the political spectrum. He distrusted novelty in art for its own sake, yet he was also disdainful of a conservative aesthetic that avoided risk. Hughes, according to Adam Gopnik, was drawn to work that was rough-hewn, "craft attempted with passion."
Hughes's critical prose, vivid in both praise and indignation, has been compared to that of George Bernard Shaw, Jonathan Swift and William Shakespeare. "His prose", according to a colleague, "was lithe, muscular and fast as a bunch of fives. He was incapable of writing the jargon of the art world, and consequently was treated by its mandarins with fear and loathing." In different moods he could write that "Schnabel’s work is to painting what Stallone’s is to acting: a lurching display of oily pectorals," as well as conclude that Antoine Watteau "was a connoisseur of the unplucked string, the immobility before the dance, the moment that falls between departure and nostalgia."
Artist Jakob Zaaiman has criticised Hughes's grasp of contemporary art, arguing that he was unable to see beyond a narrow and blinkered classical aestheticism, and so failed to appreciate its theatrical and narrative possibilities. This was said to be particularly evident in his views of Andy Warhol.
Honours
Bibliography
Books
(Condensed version of Barcelona)
Critical studies and reviews
Biographies
Anderson, Patricia (2009). Robert Hughes: The Australian Years, Sydney: Pandora Press;
Britain, Ian (1997). Once An Australian: Journeys with Barry Humphries, Clive James, Germaine Greer and Robert Hughes, Oxford University Press;
Notes
External links
Robert Hughes at Random House Australia
Valerie Lawson, Sydney Morning Herald, "After legal jousting and vitriol, Hughes fined in absentia for car crash" (2003)
Eric Ellis, The Bulletin, July 2002, "Shock of the Broome"
1987 audio interview of Robert Hughes by Don Swaim of CBS Radio, RealAudio
The New York Times Magazine – Food: Tuna Surprise (A fisherman's journey to Costa Rica)
The Nation – Christopher Hitchens column on Things I Didn't Know: A Memoir. (25 September 2006)
Enough Rope, ABC TV Interview – Andrew Denton and Robert Hughes. (13 November 2006)
with Hughes on CBC Radio's Writers and Company (January 2008)]
Robert Hughes interviewed on Charlie Rose
World Socialist Web Site obituary by Clare Hurley, "Art History with a capital A and H: Art critic and social historian Robert Hughes"
1938 births
2012 deaths
Australian art historians
Australian art critics
Time (magazine) people
Australian media personalities
Australian historians
Australian memoirists
Australian people of Irish descent
Australian republicans
Historians of Australia
Officers of the Order of Australia
Australian expatriates in the United States
University of Sydney alumni
Frank Jewett Mather Award winners
People educated at Saint Ignatius' College, Riverview
People from Briarcliff Manor, New York
20th-century Australian historians | true | [
"\"How Long, How Long Blues\" (also known as \"How Long Blues\" or \"How Long How Long\") is a blues song recorded by the American blues duo Leroy Carr and Scrapper Blackwell in 1928. It became an early blues standard and its melody inspired many later songs.\n\nOriginal song\n\"How Long, How Long Blues\" is based on \"How Long Daddy\", recorded in 1925 by Ida Cox with Papa Charlie Jackson. On June 19, 1928, Leroy Carr, who sang and played piano, and guitarist Scrapper Blackwell recorded the song in Indianapolis, Indiana, for Vocalion Records, shortly after they began performing together. It is a moderately slow-tempo blues with an eight-bar structure. Carr is credited with the lyrics and music for the song, which uses a departed train as a metaphor for a lover who has left:\n\nCarr's and Blackwell's songs reflected a more urban and sophisticated blues, in contrast to the music of rural bluesmen of the time. Carr's blues were \"expressive and evocative\", although his vocals have also been described as emotionally detached, high-pitched and smooth, with clear diction.\n\n\"How Long, How Long Blues\" was Carr and Scrapwell's biggest hit. They subsequently recorded six more versions of the song (two of them, unissued at the time), as \"How Long, How Long Blues, Part 2\", \"Part 3\", \"How Long Has That Evening Train Been Gone\", \"The New How Long, How Long Blues\", etc. There are considerable variations in the lyrics, but most versions begin with the lyric \"How long, how long, has that evening train been gone?\"\n\nLegacy\n\"How Long, How Long Blues\" became an early blues standard and \"its lilting melody inspired hundreds of later compositions\", including the Mississippi Sheiks' \"Sitting on Top of the World\" and Robert Johnson's \"Come On in My Kitchen\". Although his later style would not suggest it, Muddy Waters recalled that it was the first song he learned to play \"off the Leroy Carr record\".\n\nIn 1988, Carr's \"How Long, How Long Blues\" was inducted into the Blues Hall of Fame in the category \"Classics of Blues Recordings – Singles or Album Tracks\". Blues historian Jim O'Neal commented in the induction statement, \"'How Long, How Long Blues' was a massive hit in the prewar blues era, a song that every blues singer and piano player had to know, and one that has continued to inspire dozens of cover versions.\" In 2012, the song received a Grammy Hall of Fame Award, which \"honor[s] recordings of lasting qualitative or historical significance\".\n\nSee also\nList of train songs\n\nReferences\n\nBlues songs\n1928 songs\nGrammy Hall of Fame Award recipients\nVocalion Records singles\nSongs about trains",
"John Brooke Johnson Brooke (born John Brooke Johnson, 1823 – 1 December 1868) was a soldier and Rajah Muda, heir to the Raj, of the Kingdom of Sarawak until disinherited in favour of his younger brother, Charles.\n\nBorn in South Stoke near Bath, the son of Francis Charles Johnson, a clergyman who had, in 1822, married Emma Frances Brooke, an elder sister of James Brooke. James took 'Johnny' on a long cruise around the Mediterranean in 1837 in his yacht, Royalist. John then joined the British army's 88th Foot as an Ensign in 1839, Lieutenant in 1842, and Captain in 1848.\n\nBrooke, his preferred name by then, left the army in 1848, adopted the surname of Brooke , and went to join his uncle in Borneo as Rajah Muda, taking effective charge of the country when James returned to England. He spent some time in Labuan at first as James was establishing himself as its first Governor, but was subsequently based in Kuching. He has been largely ignored in the standard historical accounts of Sarawak, but substantial records survive which show how active he was, and his engagement with pirates in the Battle off Mukah late in 1862 has attracted interest.\n\nBrooke married Anne Grant, a granddaughter of Lord Elgin, at Kilgrastron in Scotland in 1856. They went to live in Kuching where they had two sons, Basil (1857–1860), and John Charles Evelyn Hope (1858–1934), but Anne died shortly after Hope's birth. Brooke's second marriage was to Juliana Caroline Welstead: they had met in England but married in Singapore in 1861; Julia died a year later giving birth to a daughter, Matilda Agnes (1862–1943).\n\nBrooke died in Hounslow in 1868 after a long illness, but was buried in his father's churchyard at his childhood home of Whitelackington.\n\nReferences\n\n1823 births\n1868 deaths\nSarawak royalty"
]
|
[
"Robert Hughes (critic)",
"Personal life",
"What was something he did in his personal life?",
"Hughes met his first wife, Danne Emerson, in London in 1967.",
"When did they get married?",
"1967.",
"How long was they married?",
"They divorced in 1981;"
]
| C_235084fc8b5544fc891c4164fca11aae_0 | Did they have kids? | 4 | Did Robert Hughes (critic) and Danne Emerson have kids? | Robert Hughes (critic) | Hughes met his first wife, Danne Emerson, in London in 1967. Together they became involved in the counterculture of the 1960s, exploring drug use and sexual freedom. They divorced in 1981; she died of a brain tumor in 2003. Their son, Danton, Hughes's only child, was named after the French revolutionary Georges Danton. Danton Hughes, a sculptor, committed suicide in April 2001. He had been in a long term relationship with fashion designer Jenny Kee, who found his body on 15 April. Robert Hughes later wrote: "I miss Danton and always will, although we had been miserably estranged for years and the pain of his loss has been somewhat blunted by the passage of time". Hughes was married to his second wife, Victoria Whistler, a housewife from California, from 1981 until a divorce in 1996. In 1999, Hughes was involved in a near-fatal car accident south of Broome, Western Australia. He was returning from a fishing trip and driving on the wrong side of the road when he collided head on with another car carrying three occupants. He was trapped in the car for three hours before being airlifted to Perth in critical condition. Hughes was in a coma for five weeks after the crash. In a 2000 court hearing, Hughes's defence barrister alleged that the occupants of the other car had been transporting illicit drugs at the time of the accident and were at fault. In 2003 Hughes pleaded guilty to dangerous driving causing bodily harm and was fined A$2,500. He also allegedly described the crown prosecutor, Lloyd Rayney, as a "curry muncher", which resulted in a defamation action and out-of-court settlement. Hughes recounts the story of the accident and his recovery in the first chapter of his 2006 memoir Things I Didn't Know. In 2001, Hughes wed his third wife, the American artist and art director Doris Downes. "Apart from being a talented painter, she saved my life, my emotional stability, such as it is", he said. CANNOTANSWER | Danton, | Robert Studley Forrest Hughes AO (28 July 19386 August 2012) was an Australian-born art critic, writer, and producer of television documentaries. He was described in 1997 by Robert Boynton of The New York Times as "the most famous art critic in the world."
Hughes earned widespread recognition for his book and television series on modern art, The Shock of the New, and for his longstanding position as art critic with TIME magazine. He is also known for his best seller The Fatal Shore (1986), a study of the British convict system in early Australian history. Known for his contentious critiques of art and artists, Hughes was generally conservative in his tastes, although he did not belong to a particular philosophical camp. His writing was noted for its power and elegance.
Early life
Hughes was born in Sydney, Australia, in 1938. His father and paternal grandfather were lawyers. Hughes's father, Geoffrey Forrest Hughes, was a pilot in the First World War, with later careers as a solicitor and company director. He died from lung cancer when Robert was aged 12. His mother was Margaret Eyre Sealy, née Vidal. His elder brother was Australian politician Thomas Eyre Forrest Hughes, the father of former Sydney Lord Mayor Lucy Turnbull, the wife of former Australian Prime Minister Malcolm Turnbull. He had another brother Geoffrey and one sister, Constance.
Growing up in Rose Bay, Sydney, Hughes was educated at Saint Ignatius' College, Riverview before studying arts and then architecture at the University of Sydney. At university, he associated with the Sydney "Push" – a group of artists, writers, intellectuals and drinkers. Among the group were Germaine Greer and Clive James.
Career
As an art critic
Hughes, an aspiring artist and poet, abandoned his university endeavours to become first a cartoonist and then an art critic for the Sydney periodical The Observer, edited by Donald Horne. Hughes was briefly involved in the original Sydney version of Oz magazine and wrote art criticism for Nation and The Sunday Mirror.
In 1961, while still a student, Hughes was caught up in controversy when a number of his classmates demonstrated in a student newspaper article that he had published plagiarised poetry by Terence Tiller and others, and a drawing by Leonard Baskin.
Hughes left Australia for Europe in 1964, living for a time in Italy before settling in London in 1965, where he wrote for The Spectator, The Daily Telegraph, The Times, and The Observer, among others, and contributed to the London version of Oz. In 1970 he was appointed art critic for TIME magazine and moved to New York, where he soon became an influential voice.
In 1966 Hughes published a history of Australian painting titled The Art of Australia, still considered an important work.
Hughes wrote and narrated the BBC eight-part series The Shock of the New (1980) on the development of modern art since the Impressionists. It was produced and in part directed by Lorna Pegram. It was accompanied by a book with the same title. John O'Connor of The New York Times said, "Agree or disagree, you will not be bored. Mr. Hughes has a disarming way of being provocative."
Hughes's TV series American Visions (1997) reviewed the history of American art since the Revolution. Hughes's documentary on Francisco Goya, Goya: Crazy Like a Genius (2002), was broadcast on the first night of the new British domestic digital service, BBC Four. He created a one-hour update to The Shock of the New, titled The New Shock of the New, which first aired in 2004. He published the first volume of his memoirs, Things I Didn’t Know, in 2006.
As a journalist and historian
Hughes and Harold Hayes were recruited in 1978 to anchor the new ABC News (US) newsmagazine 20/20. His only broadcast, on 6 June 1978, proved so controversial that, less than a week later, ABC News president Roone Arledge terminated the contracts of both men, replacing them with veteran TV host Hugh Downs.
Hughes's book The Fatal Shore followed in 1987. A study of the British penal colonies and early European settlement of Australia, it became an international best-seller. During the late 1990s, Hughes was a prominent supporter of the Australian Republican Movement. Australia: Beyond the Fatal Shore (2000) was a series musing on modern Australia and Hughes's relationship with it. During production, Hughes was involved in a near-fatal road accident.
Personal life
Hughes met his first wife, Danne Emerson, in London in 1967. Together they became involved in the counterculture of the 1960s, exploring drug use and sexual freedom. They divorced in 1981; she died of a brain tumour in 2003. Their son, Danton, Hughes's only child, was named after the French revolutionary Georges Danton. Danton Hughes, a sculptor, committed suicide in April 2001; he was found by his partner, fashion designer Jenny Kee, with whom he had been in a long-term relationship. Robert Hughes later wrote: "I miss Danton and always will, although we had been miserably estranged for years and the pain of his loss has been somewhat blunted by the passage of time".
Hughes was married to his second wife, Victoria Whistler, from 1981 until a divorce in 1996.
In 1999, Hughes was involved in a near-fatal car accident south of Broome, Western Australia. He was returning from a fishing trip and driving on the wrong side of the road when he collided head on with another car carrying three occupants. He was trapped in the car for three hours before being airlifted to Perth in critical condition. Hughes was in a coma for five weeks after the crash. In a 2000 court hearing, Hughes's defence barrister alleged that the occupants of the other car had been transporting illicit drugs at the time of the accident and were at fault. In 2003 Hughes pleaded guilty to dangerous driving causing bodily harm and was fined A$2,500. He also allegedly described the crown prosecutor, Lloyd Rayney, as a "curry muncher", which resulted in a defamation action and out-of-court settlement. Hughes recounts the story of the accident and his recovery in the first chapter of his 2006 memoir Things I Didn't Know.
In 2001, Hughes wed his third wife, the American artist and art director Doris Downes. "Apart from being a talented painter, she saved my life, my emotional stability, such as it is", he said.
Death
After a long illness, Hughes died at Calvary Hospital in The Bronx, New York, on 6 August 2012, with his wife at his bedside. He was also survived by two stepsons from his wife's previous marriage, Freeborn Garrettson Jewett IV and Fielder Douglas Jewett; his brothers, Tom and Geoffrey Hughes; a sister, Constance Crisp; and many nieces and nephews.
Assessment
When The Shock of the New was proposed to the BBC, television programmers were sceptical that a journalist could properly follow the aristocratic tone of Kenneth Clark, whose Civilisation had been so successful. The Shock of the New proved to be a popular and critical success: it has been assessed "much the best synoptic introduction to modern art ever written", taking as its premise the vitality gained by modern art when it ceded the need to replicate nature in favour of a more direct expression of human experience and emotion. Hughes's explanations of modern art benefited from the coherence of his judgments, and were marked by his ability to summarise the essential qualities of his subject.
Whether positive or negative, his judgments were enthusiastic. He championed London painters like Frank Auerbach and Lucian Freud, helping to popularise the latter in the United States, and wrote with unabashed admiration for Francisco Goya and Pierre Bonnard. By contrast Hughes was dismissive of much postmodernism and neo-expressionism, of painters like Julian Schnabel and David Salle, as well as the vicissitudes of a money-fuelled art market. While his reviews expressed antipathy for the avant-garde, he was beholden neither to any theory nor ideology, and managed to provoke both ends of the political spectrum. He distrusted novelty in art for its own sake, yet he was also disdainful of a conservative aesthetic that avoided risk. Hughes, according to Adam Gopnik, was drawn to work that was rough-hewn, "craft attempted with passion."
Hughes's critical prose, vivid in both praise and indignation, has been compared to that of George Bernard Shaw, Jonathan Swift and William Shakespeare. "His prose", according to a colleague, "was lithe, muscular and fast as a bunch of fives. He was incapable of writing the jargon of the art world, and consequently was treated by its mandarins with fear and loathing." In different moods he could write that "Schnabel’s work is to painting what Stallone’s is to acting: a lurching display of oily pectorals," as well as conclude that Antoine Watteau "was a connoisseur of the unplucked string, the immobility before the dance, the moment that falls between departure and nostalgia."
Artist Jakob Zaaiman has criticised Hughes's grasp of contemporary art, arguing that he was unable to see beyond a narrow and blinkered classical aestheticism, and so failed to appreciate its theatrical and narrative possibilities. This was said to be particularly evident in his views of Andy Warhol.
Honours
Bibliography
Books
(Condensed version of Barcelona)
Critical studies and reviews
Biographies
Anderson, Patricia (2009). Robert Hughes: The Australian Years, Sydney: Pandora Press;
Britain, Ian (1997). Once An Australian: Journeys with Barry Humphries, Clive James, Germaine Greer and Robert Hughes, Oxford University Press;
Notes
External links
Robert Hughes at Random House Australia
Valerie Lawson, Sydney Morning Herald, "After legal jousting and vitriol, Hughes fined in absentia for car crash" (2003)
Eric Ellis, The Bulletin, July 2002, "Shock of the Broome"
1987 audio interview of Robert Hughes by Don Swaim of CBS Radio, RealAudio
The New York Times Magazine – Food: Tuna Surprise (A fisherman's journey to Costa Rica)
The Nation – Christopher Hitchens column on Things I Didn't Know: A Memoir. (25 September 2006)
Enough Rope, ABC TV Interview – Andrew Denton and Robert Hughes. (13 November 2006)
with Hughes on CBC Radio's Writers and Company (January 2008)]
Robert Hughes interviewed on Charlie Rose
World Socialist Web Site obituary by Clare Hurley, "Art History with a capital A and H: Art critic and social historian Robert Hughes"
1938 births
2012 deaths
Australian art historians
Australian art critics
Time (magazine) people
Australian media personalities
Australian historians
Australian memoirists
Australian people of Irish descent
Australian republicans
Historians of Australia
Officers of the Order of Australia
Australian expatriates in the United States
University of Sydney alumni
Frank Jewett Mather Award winners
People educated at Saint Ignatius' College, Riverview
People from Briarcliff Manor, New York
20th-century Australian historians | true | [
"Kids Helping Kids is an entirely student run 501(c)(3) non-profit organization based out of the San Marcos High School AP Economics classes in Santa Barbara, California. Headed by Economics teachers Jamie DeVries and Jillian Heckman, Kids Helping Kids originally began with a student-run penny drive in 2002 and has evolved into an annual signature gala event at the Santa Barbara multimillion-dollar Granada Theatre. Over the course of fifteen years, students have volunteered over 10,000 hours of work, resulting in a gross of $2,500,000 raised for children in need throughout the community and abroad.\nThe Kids Helping Kids mission statement reads: \"Empowered students making a difference from the classroom to the community.\"\n\nBeginnings \n\nKids Helping Kids was founded in 2002 by one of the San Marcos High School AP Economics classes. Its vision came from teacher Jamie Devries, who wanted to change the stagnant atmosphere of the AP Economics curriculum and give the students a real world application to the principles they learn in class. The organization's first project was a penny drive, enlisting the help of local grade schools and high schools. From there, Kids Helping Kids students hosted a benefit night and silent auction at Santa Barbara's Ruby's Diner, where a portion of each dinner was donated to Kids Helping Kids. Through money raised from food sales, the silent auction, and donations, Kids Helping Kids was able to raise $8,000 for the 2003 year. This money was donated directly to the Santa Barbara Unity Shoppe, a public benefit corporation encouraging self-sufficiency and independence through education and basic necessities. Since then, Kids Helping Kids has grown exponentially; each year, the students have been building off of the accomplishments, both financial and organizational, of the prior class.\n\nFundraising\n\nSignature Concert Gala \nKids Helping Kids hit its big break in 2008 when Tyrone Wells, folk-pop singer and songwriter, agreed to perform for a benefit concert. Largely because of the concert, the Kids Helping Kids class of 2008 ended up raising $105,000. 2008 also marked the year that Mark Chipello, Tyrone Wells' personal manager, became Kids Helping Kids' talent buyer. Chipello continues to serve as a liaison between Kids Helping Kids and record industries, securing each year's artist. The following year, the Kids Helping Kids class of 2009 landed alternative rock band Toad the Wet Sprocket to headline, and Tyrone Wells to open, at the now annual benefit concert. 2009 was also the first year the concert was held at the beautiful, historic Granada Theater in Santa, Barbara, CA, where it continues to be held every year. \nSince then, Kids Helping Kids concert artists have been: Five for Fighting (2010), Matt Kearney with Tyrone Wells (2011), Sara Bareilles with Tyrone Wells (2012), Switchfoot with Brad Corrigan (2013), and Andy Grammer with Tim Lopez (2014), Ingrid Michaelson with Jon McLaughlin (2015), NEEDTOBREATHE with JohnnySwim (2016), Gavin DeGraw with Parachute (2017). Many are Grammy nominated and platinum recording.\n\nSponsors \nDeckers Outdoor Corporation, a function-orientated footwear manufacturer based in Goleta, California, has been the title sponsor of Kids Helping Kids since 2009. They have generously contributed over $160,000 to Kids Helping Kids. In 2013, the State Farm Youth Advisory Board rewarded Kids Helping Kids a $78,400 grant to facilitate Kids Helping Kids Santa Barbara's mission to expand on a national level.\n\nCauses \nA total of 2,200,000 has been raised by Kids Helping Kids. \nLocally, Kids Helping Kids has donated directly to the Unity Shoppe as well as annually covering the cost of AP tests and lab fees for lower income families. In 2011, Kids Helping Kids helped subsidize the medical and funeral costs for a local student who was killed in car accident. Additionally, the organization replaced a visual aid machine for a local student and gave a grant to a grade school band to purchase brand new instruments. \nGlobally, Kids Helped Kids has funded the building of a preschool and orphanage in Rwanda, which benefits vulnerable orphans and children. Kids Helping Kids also paid for a safe house to be built in Nicaragua.\n\nRecent activity \nIn November 2013, a group of Kids Helping Kids members traveled to the safe house they fund in Managua, Nicaragua. Kids Helping Kids is currently working to expand on a national level. There are currently four branches of Kids Helping Kids, with the Santa Barbara, California chapter acting as the mother organization for high schools in Sacramento, Ojai, and Denver. Kids Helping Kids Sacramento held their first benefit concert in May 2013, raising over $20,000 for charitable purposes.\nIn September 2013, Kids Helping Kids received a $78,400 grant from the State Farm Youth Advisory Board. The grant is intended to provide the students of Kids Helping Kids Santa Barbara with the necessary funds to fly representatives across the country mentoring other high schools in the fundamentals of creating a non-profit organization in Kids Helping Kids name.\n\"Kids Helping Kids is incredibly grateful to receive such a substantial grant from State Farm,\" said Kids Helping Kids CEO Carter Hudson. \"To know that the model we have put together at San Marcos has been recognized on a national landscape is extremely encouraging. It is a testament to the diligence and commitment of the past and present Kids Helping Kids students and the support of the Santa Barbara community.\"\nThis years senior management team consists of CEO Elizabeth Kravchuk, CMO Allie Jones, CFO Kelsey Warren, COO Mya Adornetto, Director of Advancement Claire Hyatt, and Director of Outreach Avery Ridenour.\n\nAccomplishments \nSince 2002, Kids Helping Kids has raised over $2,500,000. \nIn 2011, Kids Helping Kids was recognized with the Subway National High School Heroes Award. \nWe have spread our Kids Helping Kids model to 4 other high schools: Sacramento, CA; Ojai, CA; A.\nIn 2013, Kids Helping Kids was awarded a $78,000 grant from the Youth Advisory Board of State Farm Insurance to support our dream of spreading the Kids Helping Kids program to other high schools across the nation.\n\nSee also\n Youth philanthropy\n A Kid's Guide to Giving\n\nReferences\n\nExternal links \n \n\nCharities based in California\nYouth organizations based in California",
"Here are some of Kids' WB's most notable specials:\n\nGrandma Got Run Over by a Reindeer\n\nThis Christmas special originally aired on Kids' WB on Monday, December 23, 2002 at 4:00 PM. It aired in The WB's primetime slots beforehand. Both entities have rebroadcast it, usually around Christmas time.\n\nThe Mastermind of Mirage Pokémon\n\nThis is the one-hour tenth-anniversary special of the Pokémon franchise, and it aired in the USA before anywhere else, even Japan. Kids' WB! first aired it on April 29, 2006 at 10:00 AM, and it was the first Pokémon program dubbed by Pokémon USA, and the only program dubbed by Pokémon USA to air on Kids' WB on The WB. Kids' WB ran a promotional sweepstakes during it to win Pokémon: Tenth Anniversary merchandise.\n\nPokémon: Destiny Deoxys\n\nKids' WB aired the English-language version of this movie on January 22, 2005 at 10:00 AM. However, it was edited due to time constraints. The full-length movie was released on DVD February 15, 2005. Before the movie, during the preceding programs, Kids' WB rolled out the red carpet to meet the stars of the movie.\n\nWakko's Wish\n\nThis two-hour direct-to-video Animaniacs movie originally aired on Kids' WB on February 22, 2000.\n\nWelcome Home, Animaniacs!\n\nThis was the very first Kids' WB special, and was a Saturday morning preview special not unlike those that had been shown on ABC in the past. However, this special is rather hard to find, as not many WB Network affiliates actually aired it. And the few WB affiliates that did air the special aired it right after Kids' WB's first broadcast.\n\nThis special, hosted by Harland Williams, was built around the fact that, for Kids' WB's first season, Animaniacs was moving there from Fox Kids, and for the special, new animation of Yakko, Wakko and Dot had been produced driving away from the Fox studios to the Warner Bros. lot. In the meantime, the stars of The WB's prime-time shows gave viewers a look at the new shows:\n\n Robert Townsend and Curtis Williams of The Parent 'Hood gave a peek at the new season of Animaniacs\n Tia and Tamera Mowry from Sister, Sister introduced Freakazoid!\n Kirk Cameron showed off Earthworm Jim\n The Wayans Bros. gave a look at The Sylvester and Tweety Mysteries\n And Pinky and the Brain was featured as well.\n\nZolar\nKids' WB's first ever original movie, and one of their only live-action programs in history, debuted on May 29, 2004. It featured a sport-competing alien named Zolar, from another planet. His catch phrase was \"Blue-yah!\" During the movie, Kids' WB! ran a sweepstakes to win a year's supply of buttered popcorn. The movie featured guest appearances by pro skateboarder Jason Ellis (radio host) and freestyle motocross legend Mike Metzger.\n\nNotable promotions\nAs recently as 2007, Kids' WB had many promotional giveaways, primarily to promote its programs and other Warner Bros. merchandise up for grabs.\n\nBig Kids Go First\n\nThat was a slogan used to describe Kids' WB's schedule as of October 19, 1996 (when Waynehead premiered) through November 21 of that year. In an apparent attempt to simplify the four-hour Saturday morning schedule, the action-oriented superhero cartoons were moved to make up the first two hours of the schedule, with the comedy-oriented shows (including Waynehead) making up the last two hours. In this time, the schedule went as follows:\n\nThis move proved to be a disaster, the mistake being that \"big kids\" (supposedly the kids who would've preferred the superhero cartoons) were more likely to sleep in on Saturday mornings rather than wake up early to watch the shows. As a result of this, on November 22, Freakazoid and Earthworm Jim were taken off the Saturday morning block and moved to being shown on Friday afternoons until the following February, when they disappeared from the block entirely, only to have Freakazoid replaced with The Daffy Duck Show and Earthworm Jim replaced with a classic episode of Animaniacs.\n\nAn episode of Animaniacs that was broadcast sometime later parodied this move in its gag credit: \"On The WB, Big Kids Go First / In Real Life, Big Kids Sleep In.\"\n\nDevon and Cornwall's Dubba Dragon Day\n\nAired in May 1998, this broadcast was themed around promoting the release of the film Quest for Camelot. The backlot set used in the bumpers was specially designed with a medieval theme, and Devon and Cornwall, the two-headed dragon from the film, appeared in specially-made promotional spots.\n\nCleopatra's Dubba Diva Day\nThis 1998 broadcast was hosted by Cleopatra (girl group). The music video for their song \"Life Ain't Easy\" premiered at the end of the show.\n\nBackstreet Boys' Terrifying Tower Takeover\nThis broadcast aired in 1998 was hosted by the Backstreet Boys. They introduced shows and talked about their monster characters in the music video for Everybody (Backstreet's Back) leading up to the world premiere.\n\nBNL Day\n\nBNL Day was the name given to the broadcast that aired on May 15, 1999, in which the Barenaked Ladies performed between each show. This event was originally intended to be titled Naked Day, but was changed due to complaints from parents.\n\nWarnerama Celebrity Showcase Featuring NSYNC\n\nThis broadcast aired on May 1, 1999 was hosted by NSYNC. They as well as Kids WB characters performed between shows.\n\nThe Adventures of Static Shaq\nThese shorts promoted NBA legend Shaquille O'Neal's guest appearance in the Static Shock episode \"Static Shaq\".\n\nKids' WB Snow Jam\n\nThe Kids' WB Snow Jam was the name given to the broadcast that aired on February 5, 2000, in which Lou Bega performed between each show. New episodes of Kids' WB shows aired all morning, including three new episodes of Pokémon.\n\nKids' WB Big Premiere\nThis special promoted the series premieres of Yu-Gi-Oh!, The Mummy: The Animated Series, and The Nightmare Room and aired new episodes of X-Men: Evolution, Jackie Chan Adventures, and Pokemon: Johto League Champions. Originally set to air on September 15, 2001, it was later moved to September 29.\n\nHalloween Duel of Screams\nIn 2002 and 2003, toward Halloween, Kids' WB would do a promotion similar to the Yu-Gi-Oh! Trading Card Game pitting Kids' WB characters against one another in a duel, but this time with screaming kids. Whoever had the most screaming kids that could affect others won the duel. It was always done in tournament style, but in 2002, Todd \"Toad\" Tolensky from X-Men: Evolution was disqualified for eating The Flea from ¡Mucha Lucha!, Ash Ketchum from Pokémon almost lost to Joey Wheeler from Yu-Gi-Oh!, and Jade Chan from Jackie Chan Adventures beat Yugi in the final round. In 2003, Yugi defeated The Masked Toilet from Mucha Lucha in the final round and won.\n\nHey Dragon, Down in Front!\nThis sweepstakes aired in the afternoon block for a week sometime in the spring of 2004, to promote Yu-Gi-Oh! The Movie: Pyramid of Light. Viewers had to identify a dragon from the Yu-Gi-Oh! series when Yugi said \"Hey, (dragon's name), down in front!\" and when they did, viewers were to log on to the website and enter for a chance to win Yu-Gi-Oh! card decks, as well as discount coupons for the movie.\n\nHoliday Sock Party\nThe Holiday Sock Party was an ongoing event from 2001 to 2005, and had always taken place on the second Saturday in December. During this five-year period, the Kids' WB mascot, the Holiday Sock, usually goes inside of the Kids' WB! promotional watertower, with other characters from Kids' WB, in which they do Christmas-related things. In 2001 and 2002, the sock was the sole host; however, in 2003, The Flea from ¡Mucha Lucha! co-hosted. In 2004, the sock granted the wishes of viewers who wanted to \"turn into something\" on TV. In 2005, the set was then moved to the Fruit Salad Island from Coconut Fred's Fruit Salad Island with Coconut Fred as the co-host, and was about granting wishes again. This did not happen in 2006 and 2007, it was then replaced with a singalong for those two years, it didn't occur in 2008, as all of the Kids' WB networks except for the Australian version had disbanded. This promotion was not aired on the Australian Kids' WB network, because that version uses hosted content.\n\nThe Holiday Sock appeared as a question in the 20th Anniversary Edition of Trivial Pursuit, card #582, \"Q: Who was not worn out by hosting the Holiday Sock Party? A: The Holiday Sock\"\n\nKids' WB! Backlot Tour\nKids' WB had its Kids' WB! Backlot Tour in the parking lot of The Centre Ice Rink at the Delaware State Fairgrounds in Harrington, Delaware, July 20 to 29, 2006, during the Delaware State Fair. It featured the best of Kids' WB programming, Xbox 360 gaming, and other fun activities. It is a nationwide traveling show, usually at Six Flags Theme Park.\n\nMad Mad Mad Monkey Summer, Ooh Ooh Ahh Ahh (Just For Kids) Island, Gotta See-ee-eeh Falls\nBeginning June 5, 2004, Kids' WB gave their lineup a monkey-based theme, entitling it \"Mad Mad Mad Monkey Summer\". They did promos such as \"1001 Uses For a Banana\" showing a Kids' WB character in need of a banana (usually where it doesn't help or makes things worse), \"Stump the Monkey!\" where viewers could go online and ask the monkey, \"Professor Oo-oo-oo\" questions, and pranks where someone in a gorilla costume would pop up randomly in a public area, scaring someone. Also, beginning June 14, 2004, Kids' WB gave their weekday lineup a monkey-related theme to go along with \"Mad Mad Mad Monkey Summer\" and entitled it \"Ooh Ooh Ahh Ahh (Just for Kids) Island\". As a special, until July 30, 2004, viewers could enter online to be the Monkey King of the day and have their picture on a monkey's body on TV. This promo lasted longer than Mad Mad Mad Monkey Summer (which ended August 21, 2004, Ooh Ooh Ahh Ahh ended October 22, 2004) and beginning September 17, 2004, Kids' WB entitled the Friday lineup \"Gotta See-ee-eeh Falls\", as they showed encore episodes of Mucha Lucha and Pokémon from the previous Saturday, and encore episodes of the new series Da Boom Crew and The Batman, as well as other things, such as new \"lost\" episodes of MegaMan: NT Warrior which were either skipped or dubbed out of order. However, this only went until October 15, 2004, a week earlier before it was originally scheduled to, when the network did a last-minute schedule change to prepare for November sweeps, replacing the scheduled encore of The Batman with an orderly rerun of Yu-Gi-Oh!.\n\nKids' WB! Way Outta The Way Road Trip\n\nThese promos consisted of Kids WB characters going on a “road trip” to real locations across the United States of America.\n\nMagi-Nation: Battle for the Moonlands Sweepstakes\nOn May 17, 2008, Kids' WB held a sweepstakes to promote the online game \"Magi-Nation: Battle for the Moonlands\" on Cookie Jar's Magi-Nation website. In this sweepstakes, viewers were to watch Kids' WB! all morning long to find five secret code words, and then enter them online to be entered into a drawing for a pre-paid game card worth five dollars of in-game currency. This is the final sweepstakes Kids' WB! ever held, and it took place on their last day of programming.\n\nPillow Head Hour\n\nThe Pillow Head Hour began on June 4, 2005, as Kids' WB was showing the final episodes of Jackie Chan Adventures, it was a full hour at 8:00 EST (7:00 CST/PST), where they did promos featuring what Kids' WB characters' \"Pillow Head Hair\" would look like (what their hair would look like if they had just woken up from bed). The Pillow Head Hour was discontinued on June 25, 2005, when the network did a last-minute schedule change replacing Jackie Chan Adventures on July 2 with Teen Titans and The Batman. However, KidsWB.com made \"Pillow Head Reports\" featuring Gisselle, the Pillow Head Reporter for Kids' WB!, talking about things such as entertainment and media. Because of this, starting on January 7, 2006, when Saturdays were extended to five hours, the Pillow Head Hour was reborn at 7:00 am, featuring Giselle and a full hour of a randomly selected Kids' WB! show, and numerous guests talking about their \"Pillow Head Hair\". The Pillow Head Hour was discontinued once again on July 8, 2006, where Kids' WB! made their \"Sizzlin' Summer Lineup\" with two Yu-Gi-Oh! episodes in the former Pillow Head Hour's slot. This was supposed to be on September 23, 2006, for the 2006–2007 season, when it was then replaced with Shaggy and Scooby-Doo as then hosts of the block, from Shaggy & Scooby-Doo Get a Clue!, a show that was on Kids' WB, at that current period of time, until 2008, when Kids' WB had ceased, as well. Kids' WB was then replaced by then-4Kids block, The CW4Kids, following Kids' WB's disbandment in 2008; it had aired from 2008 to 2010. The CW4Kids was then replaced by Toonzai from 2010 to 2012. Following this, Saban Brands took over the block, renamed Vortexx until September 27, 2014. Until the end of the block, the first hour featured two programs which follow federally mandated E/I requirements and guidelines. Vortexx was eventually replaced by One Magnificent Morning which airs educational programming exclusively.\n\nThe Pokémon Premiere Party\n\nThis was the name given to Kids' WB's broadcast on February 13, 1999, which marked the first time that Pokémon was shown on the block (the episode aired on that date was \"The Problem with Paras\") as part of the comedy lineup. Unfortunately for fans of Warner Bros. Animation, though, it was in this same weekend that The Big Cartoonie Show (which came right after Pokémon) was shortened down to half an hour.\n\nTop of the Tower Win-a-Rama\nDuring the 2002–03 season, from time to time, Kids' WB would run a contest, usually during weekdays when they had them, where each day they gave you a code to enter on KidsWB.com and be drawn to win some merchandise, usually relating to a Kids' WB show. The first one was for Yu-Gi-Oh! in the week of September 16, 2002. Sometimes it coincided with the week as a show was given a special airing, such as the \"Weekday Shift\" that aired Rescue Heroes the whole week, the special weeks of catching up on The Mummy: The Animated Series or the week of new Cubix: Robots for Everyone episodes.\n\nZany Insany April\nOzzy from Ozzy & Drix hosted Kids' WB in April 2003, and named it \"Zany Insany April\". For the occasion, every week in April, at 3:30 pm, Kids' WB aired a show that would normally air on Saturday, such as Ozzy & Drix, The Mummy: The Animated Series, Static Shock, Mucha Lucha, and X-Men: Evolution. Saturday promos included the \"You Rhyme It, We Rap It, Rap-a-Thon\", where viewers could make a rap about a Kids' WB show and Scooby-Doo and Shaggy from Scooby-Doo would get some other Kids' WB character to perform the rap on TV, or the \"Burpalicious Belchathon\", where viewers could compete with Kids' WB characters to see how loud they could burp.\n\nReferences\n\nKids' WB original shows"
]
|
[
"Robert Hughes (critic)",
"Personal life",
"What was something he did in his personal life?",
"Hughes met his first wife, Danne Emerson, in London in 1967.",
"When did they get married?",
"1967.",
"How long was they married?",
"They divorced in 1981;",
"Did they have kids?",
"Danton,"
]
| C_235084fc8b5544fc891c4164fca11aae_0 | Did they stay married or got a divorce? | 5 | Did Robert Hughes (critic) and Danne Emerson stay married or got a divorce? | Robert Hughes (critic) | Hughes met his first wife, Danne Emerson, in London in 1967. Together they became involved in the counterculture of the 1960s, exploring drug use and sexual freedom. They divorced in 1981; she died of a brain tumor in 2003. Their son, Danton, Hughes's only child, was named after the French revolutionary Georges Danton. Danton Hughes, a sculptor, committed suicide in April 2001. He had been in a long term relationship with fashion designer Jenny Kee, who found his body on 15 April. Robert Hughes later wrote: "I miss Danton and always will, although we had been miserably estranged for years and the pain of his loss has been somewhat blunted by the passage of time". Hughes was married to his second wife, Victoria Whistler, a housewife from California, from 1981 until a divorce in 1996. In 1999, Hughes was involved in a near-fatal car accident south of Broome, Western Australia. He was returning from a fishing trip and driving on the wrong side of the road when he collided head on with another car carrying three occupants. He was trapped in the car for three hours before being airlifted to Perth in critical condition. Hughes was in a coma for five weeks after the crash. In a 2000 court hearing, Hughes's defence barrister alleged that the occupants of the other car had been transporting illicit drugs at the time of the accident and were at fault. In 2003 Hughes pleaded guilty to dangerous driving causing bodily harm and was fined A$2,500. He also allegedly described the crown prosecutor, Lloyd Rayney, as a "curry muncher", which resulted in a defamation action and out-of-court settlement. Hughes recounts the story of the accident and his recovery in the first chapter of his 2006 memoir Things I Didn't Know. In 2001, Hughes wed his third wife, the American artist and art director Doris Downes. "Apart from being a talented painter, she saved my life, my emotional stability, such as it is", he said. CANNOTANSWER | Hughes was married to his second wife, Victoria Whistler, a housewife from California, from 1981 until a divorce in 1996. | Robert Studley Forrest Hughes AO (28 July 19386 August 2012) was an Australian-born art critic, writer, and producer of television documentaries. He was described in 1997 by Robert Boynton of The New York Times as "the most famous art critic in the world."
Hughes earned widespread recognition for his book and television series on modern art, The Shock of the New, and for his longstanding position as art critic with TIME magazine. He is also known for his best seller The Fatal Shore (1986), a study of the British convict system in early Australian history. Known for his contentious critiques of art and artists, Hughes was generally conservative in his tastes, although he did not belong to a particular philosophical camp. His writing was noted for its power and elegance.
Early life
Hughes was born in Sydney, Australia, in 1938. His father and paternal grandfather were lawyers. Hughes's father, Geoffrey Forrest Hughes, was a pilot in the First World War, with later careers as a solicitor and company director. He died from lung cancer when Robert was aged 12. His mother was Margaret Eyre Sealy, née Vidal. His elder brother was Australian politician Thomas Eyre Forrest Hughes, the father of former Sydney Lord Mayor Lucy Turnbull, the wife of former Australian Prime Minister Malcolm Turnbull. He had another brother Geoffrey and one sister, Constance.
Growing up in Rose Bay, Sydney, Hughes was educated at Saint Ignatius' College, Riverview before studying arts and then architecture at the University of Sydney. At university, he associated with the Sydney "Push" – a group of artists, writers, intellectuals and drinkers. Among the group were Germaine Greer and Clive James.
Career
As an art critic
Hughes, an aspiring artist and poet, abandoned his university endeavours to become first a cartoonist and then an art critic for the Sydney periodical The Observer, edited by Donald Horne. Hughes was briefly involved in the original Sydney version of Oz magazine and wrote art criticism for Nation and The Sunday Mirror.
In 1961, while still a student, Hughes was caught up in controversy when a number of his classmates demonstrated in a student newspaper article that he had published plagiarised poetry by Terence Tiller and others, and a drawing by Leonard Baskin.
Hughes left Australia for Europe in 1964, living for a time in Italy before settling in London in 1965, where he wrote for The Spectator, The Daily Telegraph, The Times, and The Observer, among others, and contributed to the London version of Oz. In 1970 he was appointed art critic for TIME magazine and moved to New York, where he soon became an influential voice.
In 1966 Hughes published a history of Australian painting titled The Art of Australia, still considered an important work.
Hughes wrote and narrated the BBC eight-part series The Shock of the New (1980) on the development of modern art since the Impressionists. It was produced and in part directed by Lorna Pegram. It was accompanied by a book with the same title. John O'Connor of The New York Times said, "Agree or disagree, you will not be bored. Mr. Hughes has a disarming way of being provocative."
Hughes's TV series American Visions (1997) reviewed the history of American art since the Revolution. Hughes's documentary on Francisco Goya, Goya: Crazy Like a Genius (2002), was broadcast on the first night of the new British domestic digital service, BBC Four. He created a one-hour update to The Shock of the New, titled The New Shock of the New, which first aired in 2004. He published the first volume of his memoirs, Things I Didn’t Know, in 2006.
As a journalist and historian
Hughes and Harold Hayes were recruited in 1978 to anchor the new ABC News (US) newsmagazine 20/20. His only broadcast, on 6 June 1978, proved so controversial that, less than a week later, ABC News president Roone Arledge terminated the contracts of both men, replacing them with veteran TV host Hugh Downs.
Hughes's book The Fatal Shore followed in 1987. A study of the British penal colonies and early European settlement of Australia, it became an international best-seller. During the late 1990s, Hughes was a prominent supporter of the Australian Republican Movement. Australia: Beyond the Fatal Shore (2000) was a series musing on modern Australia and Hughes's relationship with it. During production, Hughes was involved in a near-fatal road accident.
Personal life
Hughes met his first wife, Danne Emerson, in London in 1967. Together they became involved in the counterculture of the 1960s, exploring drug use and sexual freedom. They divorced in 1981; she died of a brain tumour in 2003. Their son, Danton, Hughes's only child, was named after the French revolutionary Georges Danton. Danton Hughes, a sculptor, committed suicide in April 2001; he was found by his partner, fashion designer Jenny Kee, with whom he had been in a long-term relationship. Robert Hughes later wrote: "I miss Danton and always will, although we had been miserably estranged for years and the pain of his loss has been somewhat blunted by the passage of time".
Hughes was married to his second wife, Victoria Whistler, from 1981 until a divorce in 1996.
In 1999, Hughes was involved in a near-fatal car accident south of Broome, Western Australia. He was returning from a fishing trip and driving on the wrong side of the road when he collided head on with another car carrying three occupants. He was trapped in the car for three hours before being airlifted to Perth in critical condition. Hughes was in a coma for five weeks after the crash. In a 2000 court hearing, Hughes's defence barrister alleged that the occupants of the other car had been transporting illicit drugs at the time of the accident and were at fault. In 2003 Hughes pleaded guilty to dangerous driving causing bodily harm and was fined A$2,500. He also allegedly described the crown prosecutor, Lloyd Rayney, as a "curry muncher", which resulted in a defamation action and out-of-court settlement. Hughes recounts the story of the accident and his recovery in the first chapter of his 2006 memoir Things I Didn't Know.
In 2001, Hughes wed his third wife, the American artist and art director Doris Downes. "Apart from being a talented painter, she saved my life, my emotional stability, such as it is", he said.
Death
After a long illness, Hughes died at Calvary Hospital in The Bronx, New York, on 6 August 2012, with his wife at his bedside. He was also survived by two stepsons from his wife's previous marriage, Freeborn Garrettson Jewett IV and Fielder Douglas Jewett; his brothers, Tom and Geoffrey Hughes; a sister, Constance Crisp; and many nieces and nephews.
Assessment
When The Shock of the New was proposed to the BBC, television programmers were sceptical that a journalist could properly follow the aristocratic tone of Kenneth Clark, whose Civilisation had been so successful. The Shock of the New proved to be a popular and critical success: it has been assessed "much the best synoptic introduction to modern art ever written", taking as its premise the vitality gained by modern art when it ceded the need to replicate nature in favour of a more direct expression of human experience and emotion. Hughes's explanations of modern art benefited from the coherence of his judgments, and were marked by his ability to summarise the essential qualities of his subject.
Whether positive or negative, his judgments were enthusiastic. He championed London painters like Frank Auerbach and Lucian Freud, helping to popularise the latter in the United States, and wrote with unabashed admiration for Francisco Goya and Pierre Bonnard. By contrast Hughes was dismissive of much postmodernism and neo-expressionism, of painters like Julian Schnabel and David Salle, as well as the vicissitudes of a money-fuelled art market. While his reviews expressed antipathy for the avant-garde, he was beholden neither to any theory nor ideology, and managed to provoke both ends of the political spectrum. He distrusted novelty in art for its own sake, yet he was also disdainful of a conservative aesthetic that avoided risk. Hughes, according to Adam Gopnik, was drawn to work that was rough-hewn, "craft attempted with passion."
Hughes's critical prose, vivid in both praise and indignation, has been compared to that of George Bernard Shaw, Jonathan Swift and William Shakespeare. "His prose", according to a colleague, "was lithe, muscular and fast as a bunch of fives. He was incapable of writing the jargon of the art world, and consequently was treated by its mandarins with fear and loathing." In different moods he could write that "Schnabel’s work is to painting what Stallone’s is to acting: a lurching display of oily pectorals," as well as conclude that Antoine Watteau "was a connoisseur of the unplucked string, the immobility before the dance, the moment that falls between departure and nostalgia."
Artist Jakob Zaaiman has criticised Hughes's grasp of contemporary art, arguing that he was unable to see beyond a narrow and blinkered classical aestheticism, and so failed to appreciate its theatrical and narrative possibilities. This was said to be particularly evident in his views of Andy Warhol.
Honours
Bibliography
Books
(Condensed version of Barcelona)
Critical studies and reviews
Biographies
Anderson, Patricia (2009). Robert Hughes: The Australian Years, Sydney: Pandora Press;
Britain, Ian (1997). Once An Australian: Journeys with Barry Humphries, Clive James, Germaine Greer and Robert Hughes, Oxford University Press;
Notes
External links
Robert Hughes at Random House Australia
Valerie Lawson, Sydney Morning Herald, "After legal jousting and vitriol, Hughes fined in absentia for car crash" (2003)
Eric Ellis, The Bulletin, July 2002, "Shock of the Broome"
1987 audio interview of Robert Hughes by Don Swaim of CBS Radio, RealAudio
The New York Times Magazine – Food: Tuna Surprise (A fisherman's journey to Costa Rica)
The Nation – Christopher Hitchens column on Things I Didn't Know: A Memoir. (25 September 2006)
Enough Rope, ABC TV Interview – Andrew Denton and Robert Hughes. (13 November 2006)
with Hughes on CBC Radio's Writers and Company (January 2008)]
Robert Hughes interviewed on Charlie Rose
World Socialist Web Site obituary by Clare Hurley, "Art History with a capital A and H: Art critic and social historian Robert Hughes"
1938 births
2012 deaths
Australian art historians
Australian art critics
Time (magazine) people
Australian media personalities
Australian historians
Australian memoirists
Australian people of Irish descent
Australian republicans
Historians of Australia
Officers of the Order of Australia
Australian expatriates in the United States
University of Sydney alumni
Frank Jewett Mather Award winners
People educated at Saint Ignatius' College, Riverview
People from Briarcliff Manor, New York
20th-century Australian historians | false | [
"Hot and Sassy is the fifth album by soul singer, Peggy Scott-Adams. Includes the hit singles, \"Mr. Right or Mr. Wrong\", \"You're Divorce Has Been Denied\" and \"If I'm Still Not Married.\"\n\nTrack listing\n \"Mr. Right or Mr. Wrong\"\n \"Your Divorce Has Been Denied\"\n \"If It Ain't Broke Don’t Fix It\"\n \"This Time It's About Me\"\n \"Just Go Away\"\n \"If I'm Still Not Married\"\n \"If I Was Getting It At Home\"\n \"I'm That Kinda Woman\"\n \"You Got to Be Good to Me\"\n \"Some Things You Just Don't Do\"\n \"She's Getting Into My Pants\"\n\nReferences\n\n2001 albums\nPeggy Scott-Adams albums",
"Marital separation occurs when spouses in a marriage stop living together without getting divorced. Married couples may separate as an initial step in the divorce process or to gain perspective on the marriage and determine whether divorce is warranted. Other couples may separate as an alternative to divorce for economic or religious reasons, for tax purposes, or to ensure continuing retirement and/or health insurance benefits for both spouses. A separation can be initiated informally, or there can be a legal separation with a formal separation agreement filed with the court. As for a divorce, the latter may include provisions for alimony, whether to have sole custody or shared parenting of any children, and the amount of child support.\n\nSeparation to enhance a marriage\nAlthough the emotional impact of separation is similar to that of divorce, some argue that a temporary separation may also occur to enhance the marriage as a tool to stay together. Some experts regard a six-month separation as good amount of time for a temporary separation, since it is long enough to set up a second household and gain perspective, but not long enough to seem permanent.\n\nGround for divorce\nA separation may be unilaterally decided by one of the spouses moving away. Many U.S. state statutes, for example Virginia's, specify that being separated for a given period of time can be grounds for divorce.\n\nSee also\nDivorce\nLegal separation\n\nReferences\n\nDisrupted marriage"
]
|
[
"Robert Hughes (critic)",
"Personal life",
"What was something he did in his personal life?",
"Hughes met his first wife, Danne Emerson, in London in 1967.",
"When did they get married?",
"1967.",
"How long was they married?",
"They divorced in 1981;",
"Did they have kids?",
"Danton,",
"Did they stay married or got a divorce?",
"Hughes was married to his second wife, Victoria Whistler, a housewife from California, from 1981 until a divorce in 1996."
]
| C_235084fc8b5544fc891c4164fca11aae_0 | Did they have any kids? | 6 | Did Robert Hughes (critic) and Danne Emerson have any kids? | Robert Hughes (critic) | Hughes met his first wife, Danne Emerson, in London in 1967. Together they became involved in the counterculture of the 1960s, exploring drug use and sexual freedom. They divorced in 1981; she died of a brain tumor in 2003. Their son, Danton, Hughes's only child, was named after the French revolutionary Georges Danton. Danton Hughes, a sculptor, committed suicide in April 2001. He had been in a long term relationship with fashion designer Jenny Kee, who found his body on 15 April. Robert Hughes later wrote: "I miss Danton and always will, although we had been miserably estranged for years and the pain of his loss has been somewhat blunted by the passage of time". Hughes was married to his second wife, Victoria Whistler, a housewife from California, from 1981 until a divorce in 1996. In 1999, Hughes was involved in a near-fatal car accident south of Broome, Western Australia. He was returning from a fishing trip and driving on the wrong side of the road when he collided head on with another car carrying three occupants. He was trapped in the car for three hours before being airlifted to Perth in critical condition. Hughes was in a coma for five weeks after the crash. In a 2000 court hearing, Hughes's defence barrister alleged that the occupants of the other car had been transporting illicit drugs at the time of the accident and were at fault. In 2003 Hughes pleaded guilty to dangerous driving causing bodily harm and was fined A$2,500. He also allegedly described the crown prosecutor, Lloyd Rayney, as a "curry muncher", which resulted in a defamation action and out-of-court settlement. Hughes recounts the story of the accident and his recovery in the first chapter of his 2006 memoir Things I Didn't Know. In 2001, Hughes wed his third wife, the American artist and art director Doris Downes. "Apart from being a talented painter, she saved my life, my emotional stability, such as it is", he said. CANNOTANSWER | Danton, Hughes's only child, | Robert Studley Forrest Hughes AO (28 July 19386 August 2012) was an Australian-born art critic, writer, and producer of television documentaries. He was described in 1997 by Robert Boynton of The New York Times as "the most famous art critic in the world."
Hughes earned widespread recognition for his book and television series on modern art, The Shock of the New, and for his longstanding position as art critic with TIME magazine. He is also known for his best seller The Fatal Shore (1986), a study of the British convict system in early Australian history. Known for his contentious critiques of art and artists, Hughes was generally conservative in his tastes, although he did not belong to a particular philosophical camp. His writing was noted for its power and elegance.
Early life
Hughes was born in Sydney, Australia, in 1938. His father and paternal grandfather were lawyers. Hughes's father, Geoffrey Forrest Hughes, was a pilot in the First World War, with later careers as a solicitor and company director. He died from lung cancer when Robert was aged 12. His mother was Margaret Eyre Sealy, née Vidal. His elder brother was Australian politician Thomas Eyre Forrest Hughes, the father of former Sydney Lord Mayor Lucy Turnbull, the wife of former Australian Prime Minister Malcolm Turnbull. He had another brother Geoffrey and one sister, Constance.
Growing up in Rose Bay, Sydney, Hughes was educated at Saint Ignatius' College, Riverview before studying arts and then architecture at the University of Sydney. At university, he associated with the Sydney "Push" – a group of artists, writers, intellectuals and drinkers. Among the group were Germaine Greer and Clive James.
Career
As an art critic
Hughes, an aspiring artist and poet, abandoned his university endeavours to become first a cartoonist and then an art critic for the Sydney periodical The Observer, edited by Donald Horne. Hughes was briefly involved in the original Sydney version of Oz magazine and wrote art criticism for Nation and The Sunday Mirror.
In 1961, while still a student, Hughes was caught up in controversy when a number of his classmates demonstrated in a student newspaper article that he had published plagiarised poetry by Terence Tiller and others, and a drawing by Leonard Baskin.
Hughes left Australia for Europe in 1964, living for a time in Italy before settling in London in 1965, where he wrote for The Spectator, The Daily Telegraph, The Times, and The Observer, among others, and contributed to the London version of Oz. In 1970 he was appointed art critic for TIME magazine and moved to New York, where he soon became an influential voice.
In 1966 Hughes published a history of Australian painting titled The Art of Australia, still considered an important work.
Hughes wrote and narrated the BBC eight-part series The Shock of the New (1980) on the development of modern art since the Impressionists. It was produced and in part directed by Lorna Pegram. It was accompanied by a book with the same title. John O'Connor of The New York Times said, "Agree or disagree, you will not be bored. Mr. Hughes has a disarming way of being provocative."
Hughes's TV series American Visions (1997) reviewed the history of American art since the Revolution. Hughes's documentary on Francisco Goya, Goya: Crazy Like a Genius (2002), was broadcast on the first night of the new British domestic digital service, BBC Four. He created a one-hour update to The Shock of the New, titled The New Shock of the New, which first aired in 2004. He published the first volume of his memoirs, Things I Didn’t Know, in 2006.
As a journalist and historian
Hughes and Harold Hayes were recruited in 1978 to anchor the new ABC News (US) newsmagazine 20/20. His only broadcast, on 6 June 1978, proved so controversial that, less than a week later, ABC News president Roone Arledge terminated the contracts of both men, replacing them with veteran TV host Hugh Downs.
Hughes's book The Fatal Shore followed in 1987. A study of the British penal colonies and early European settlement of Australia, it became an international best-seller. During the late 1990s, Hughes was a prominent supporter of the Australian Republican Movement. Australia: Beyond the Fatal Shore (2000) was a series musing on modern Australia and Hughes's relationship with it. During production, Hughes was involved in a near-fatal road accident.
Personal life
Hughes met his first wife, Danne Emerson, in London in 1967. Together they became involved in the counterculture of the 1960s, exploring drug use and sexual freedom. They divorced in 1981; she died of a brain tumour in 2003. Their son, Danton, Hughes's only child, was named after the French revolutionary Georges Danton. Danton Hughes, a sculptor, committed suicide in April 2001; he was found by his partner, fashion designer Jenny Kee, with whom he had been in a long-term relationship. Robert Hughes later wrote: "I miss Danton and always will, although we had been miserably estranged for years and the pain of his loss has been somewhat blunted by the passage of time".
Hughes was married to his second wife, Victoria Whistler, from 1981 until a divorce in 1996.
In 1999, Hughes was involved in a near-fatal car accident south of Broome, Western Australia. He was returning from a fishing trip and driving on the wrong side of the road when he collided head on with another car carrying three occupants. He was trapped in the car for three hours before being airlifted to Perth in critical condition. Hughes was in a coma for five weeks after the crash. In a 2000 court hearing, Hughes's defence barrister alleged that the occupants of the other car had been transporting illicit drugs at the time of the accident and were at fault. In 2003 Hughes pleaded guilty to dangerous driving causing bodily harm and was fined A$2,500. He also allegedly described the crown prosecutor, Lloyd Rayney, as a "curry muncher", which resulted in a defamation action and out-of-court settlement. Hughes recounts the story of the accident and his recovery in the first chapter of his 2006 memoir Things I Didn't Know.
In 2001, Hughes wed his third wife, the American artist and art director Doris Downes. "Apart from being a talented painter, she saved my life, my emotional stability, such as it is", he said.
Death
After a long illness, Hughes died at Calvary Hospital in The Bronx, New York, on 6 August 2012, with his wife at his bedside. He was also survived by two stepsons from his wife's previous marriage, Freeborn Garrettson Jewett IV and Fielder Douglas Jewett; his brothers, Tom and Geoffrey Hughes; a sister, Constance Crisp; and many nieces and nephews.
Assessment
When The Shock of the New was proposed to the BBC, television programmers were sceptical that a journalist could properly follow the aristocratic tone of Kenneth Clark, whose Civilisation had been so successful. The Shock of the New proved to be a popular and critical success: it has been assessed "much the best synoptic introduction to modern art ever written", taking as its premise the vitality gained by modern art when it ceded the need to replicate nature in favour of a more direct expression of human experience and emotion. Hughes's explanations of modern art benefited from the coherence of his judgments, and were marked by his ability to summarise the essential qualities of his subject.
Whether positive or negative, his judgments were enthusiastic. He championed London painters like Frank Auerbach and Lucian Freud, helping to popularise the latter in the United States, and wrote with unabashed admiration for Francisco Goya and Pierre Bonnard. By contrast Hughes was dismissive of much postmodernism and neo-expressionism, of painters like Julian Schnabel and David Salle, as well as the vicissitudes of a money-fuelled art market. While his reviews expressed antipathy for the avant-garde, he was beholden neither to any theory nor ideology, and managed to provoke both ends of the political spectrum. He distrusted novelty in art for its own sake, yet he was also disdainful of a conservative aesthetic that avoided risk. Hughes, according to Adam Gopnik, was drawn to work that was rough-hewn, "craft attempted with passion."
Hughes's critical prose, vivid in both praise and indignation, has been compared to that of George Bernard Shaw, Jonathan Swift and William Shakespeare. "His prose", according to a colleague, "was lithe, muscular and fast as a bunch of fives. He was incapable of writing the jargon of the art world, and consequently was treated by its mandarins with fear and loathing." In different moods he could write that "Schnabel’s work is to painting what Stallone’s is to acting: a lurching display of oily pectorals," as well as conclude that Antoine Watteau "was a connoisseur of the unplucked string, the immobility before the dance, the moment that falls between departure and nostalgia."
Artist Jakob Zaaiman has criticised Hughes's grasp of contemporary art, arguing that he was unable to see beyond a narrow and blinkered classical aestheticism, and so failed to appreciate its theatrical and narrative possibilities. This was said to be particularly evident in his views of Andy Warhol.
Honours
Bibliography
Books
(Condensed version of Barcelona)
Critical studies and reviews
Biographies
Anderson, Patricia (2009). Robert Hughes: The Australian Years, Sydney: Pandora Press;
Britain, Ian (1997). Once An Australian: Journeys with Barry Humphries, Clive James, Germaine Greer and Robert Hughes, Oxford University Press;
Notes
External links
Robert Hughes at Random House Australia
Valerie Lawson, Sydney Morning Herald, "After legal jousting and vitriol, Hughes fined in absentia for car crash" (2003)
Eric Ellis, The Bulletin, July 2002, "Shock of the Broome"
1987 audio interview of Robert Hughes by Don Swaim of CBS Radio, RealAudio
The New York Times Magazine – Food: Tuna Surprise (A fisherman's journey to Costa Rica)
The Nation – Christopher Hitchens column on Things I Didn't Know: A Memoir. (25 September 2006)
Enough Rope, ABC TV Interview – Andrew Denton and Robert Hughes. (13 November 2006)
with Hughes on CBC Radio's Writers and Company (January 2008)]
Robert Hughes interviewed on Charlie Rose
World Socialist Web Site obituary by Clare Hurley, "Art History with a capital A and H: Art critic and social historian Robert Hughes"
1938 births
2012 deaths
Australian art historians
Australian art critics
Time (magazine) people
Australian media personalities
Australian historians
Australian memoirists
Australian people of Irish descent
Australian republicans
Historians of Australia
Officers of the Order of Australia
Australian expatriates in the United States
University of Sydney alumni
Frank Jewett Mather Award winners
People educated at Saint Ignatius' College, Riverview
People from Briarcliff Manor, New York
20th-century Australian historians | true | [
"The 7th Annual Nickelodeon Kids' Choice Awards was held on May 7, 1994, at the Pantages Theater in Los Angeles, California. The awards show was hosted by Joey Lawrence and Candace Cameron, with Marc Weiner hosting the east coast portion of the show from Universal Studios Florida. This ceremony was the first KCA broadcast since the 1992 show as Nickelodeon did not produce any KCA show in 1993.\n\nPerformers\n\nThe cast of Roundhouse performed during the opening of the show.\n\nWinners and nominees\nWinners are listed first, in bold. Other nominees are in alphabetical order.\n\nMovies\n\nTelevision\n\nMusic\n\nSports\n\nMiscellaneous\n\nNick U.K.'s Favorite New Performer\n Let Loose\n\nSpecial Recognition\n\nHall of Fame\n Michael Jordan\n Janet Jackson\n Whoopi Goldberg\n\nReferences\n\nExternal links\n \n\nNickelodeon Kids' Choice Awards\nKids' Choice Awards\nKids' Choice Awards\nKids' Choice Awards\n1994 in Los Angeles",
"\"Hong Kong Kids\" or \"Kong Kids\" (Kong Hai; ; Putonghua: Gǎng Hái) is a derogatory expression that refers to a subset of children or teenagers in Hong Kong who are overly dependent on their families, have low emotional intelligence and lack self-management skills. \nThe term \"Kong Kids\" was coined in 2009 in a book titled Kong Kids: The Nightmares for Parents and Teachers published by MingPao. The book argues that there are five negative characteristics common in children born in Hong Kong after the 1990s.\n\nDescription\nThey are typically born during the 1990s to 2000s, are middle-class families, and are pampered and spoiled by domestic helpers.\n\nKong Kids typically have several common characteristics. For young children, they often lack life skills, such as bathing, cooking, and tying shoelaces. They are used to relying on their parents and foreign domestic helpers.\n\nAccording to a survey by People's Daily Online, almost half of the parents who responded said that their children cannot eat, bathe or dress themselves independently and 15% of the respondents even said their children could not use the toilet independently. When faced with difficulty, \"Kong Kids\" expect others to solve the problems, because they are inexperienced with managing setbacks and have low self-esteem.\n\nThey are usually emotional and self-centred. With low Emotional Quotient (EQ), Kong Kids cannot control their emotion in any circumstances, such as dealing with unpleasant situations. They want to be under the spotlight and cared for by everyone.\n\nKong Kids are almost always not willing or able to solve problems by themselves. Being afraid of failure, they evade adversity and rely on parents.\n\nThey are usually weak in interpersonal communication and self-control. Being self-centred, they cannot put themselves into others' shoes and respect others' opinions. They lack basic manners and come into conflicts easily.\n\nMost of the parents are over-protective of their children and shield them from difficulties and injuries. They are often referred to as \"monster parents\". Parents usually hire foreign domestic helpers to take care of their children, spoil them excessively and satisfy most of their requests. Indulging by parents may lead children to narcissism.\n\nKong Kids often love chasing new trends and pursuing well-known brands. Most of them own brand name goods and electronic gadgets such as mobile phones, iPads, iPods, digital cameras, etc. They do not treasure what they have and look for a materialistic life.\n\nCauses\nNowadays, Hong Kong families typically have one or at most two children. According to some educational experts, some so-called 'monster parents 'protect their children so well that they do not allow children to experience any setback. For instance, in 2010, the Hong Kong students could not get on the planes because of a snowstorm in London. The parents then strongly requested the government to assist students stranded at the airport. This issue induced a lot of criticisms towards parents because of their over-protection. The over-protected children hence have low resilience and can hardly overcome difficulties, which results in Kong Kids.\n\nMost parents in Hong Kong also work full-time. This frequently means they employ a foreign domestic helper to take care of their children. According to a survey, nearly 90% of parents employ a foreign domestic helper to take care of their children. The domestic helpers are not responsible for correcting children's behaviour even though the kids behave wrongly. Therefore, some children become rebellious, impolite and disrespectful of others - characteristics of Kong Kids.\n\nFinally, Hong Kong is an exam-obsessed city where most parents emphasise their children's academic results. The parents understate the need for resilience in their kids. Some children are expected to focus exclusively on academic matters, and not housework or other chores. As a result, these kids become dependent, both physically and psychologically, that is, they become Kong Kids.\n\nEffects\n\nDependent individuals\nKids with \"Kong Kid\" symptoms have little ability to care for themselves and poor problem-solving skills. When faced with adversity, they immediately give up which can lead to feelings of melancholia and, in serious cases, suicide. Kong Kids tend to remain childlike and stunted psychologically.\n\nFor instance, in 2011, a snowstorm paralysed the London Heathrow Airport, many Hong Kong students who came home for holiday were stranded at the airport. They stayed in the banquet rooms of hotels or slept in the airport. During that period, those Hong Kong students complained continuously about the situation and that the banquet rooms were like concentration camps.\n\nKong Kids have negative effects on themselves. Being spoiled, they do not know how to take care of themselves but to depend on others to live their lives. Therefore, Kong Kids have low self-care ability when compared to normal kids. For most of the time, Kong Kids' parents will help them to deal with all difficulties they face, such as handling conflicts between friends and communicating with teachers. In short term, Kong Kids lose a lot of social chances and cannot deal with hurdles by themselves while in long term, Kong Kids will lack essential communication skills and initiation of solving problems.\n\nPoor family situations and relationships\nBecause the children rely excessively on others for care, this pressures parents to be responsible for their child's actions. The embarrassment and frustration of managing children's poor behaviour at home and in public prevents the growth of a healthy parent-child relationship and parents may feel frustrated and humiliated by their children's behaviour.\n\nBurdens for Hong Kong's society \nChildren are the future generations, but Kong Kids may not be equipped to survive in the real world as they are unable to interact with and accommodate others. They do not cherish what they have and are less able to tolerate hardships at work and are at risk for termination of employment. This decreases the effectiveness of the workforce.\n\nKong Kids also negatively impact society. Depending on their parents, Kong Kids have low problem-solving abilities. As a result, once they step into society, they cannot solve problems efficiently, decreasing the productive potential of society. Because their parents solve their problems for them, Kong Kids usually lack motivation to work. The short supply of motivated and enthusiastic citizens reduces the society's competitiveness and therefore its affluence.\n\nSolution\nTo avoid children becoming Kong Kids, parents and schools need to cooperate. According to child and education psychologists, parents should stop over-protecting their children and allow them to learn life self-care skills from daily life like buttoning shirts, tying shoe laces and feeding themselves. They should explain to their children the importance of these skills but not simply tell them to follow. Moreover, parents need to give children room to learn being independent. In order to equip children with the ability to cope with adversity, when they face difficulties, parents should let children solve it on their own rather than tackling it for them. While at school, teachers should guide students to develop interpersonal skills. This is a rare opportunity at home as the family size are usually small.\n\nIn media\nIn the book Kong Kids: The Nightmares for Parents and Teachers, written by Wong Ming Lok, Hong Kong Children are defined as those born from the middle of 90s to the early 2000s, which is an affluent era with information explosion.\nOther literature denote Kong Kids as the \"3-low Kong Kid\". According to the newspaper article which originated this term, Hong Kong children have low autonomy, low emotion quotient and also low studying ability. Some of them do not help with the chores. They do not know how to change their clothes, shower themselves, tie the shoelaces and even tidy up Hong Kong children are vulnerable, not adaptable to challenges and difficulties, some of them may commit suicide due to academic pressure, family and emotional issues.\n\nOn 9 July 2011, a video entitled Tai Po Impolite Kong Kid Scolding Parents () was filmed by witnesses to the incident, posted on websites like YouTube, and was reported by the media.\n\nIn the three-minute video, a young boy with his hands on his hips shouted and condemned his parents for \"forcing\" him to accompany them to the Tai Po supermarket. He threatened to call the police and despite a surrounding crowd, spoke foul language when his parents asked him to be quiet. A passer-by, unable to stand the child's behaviour, gave the child HK$20 so that he could take a taxi home and stop harassing his parents. This video hit the local news and magazines.\n\nSee also\n Education in Hong Kong\n \"Four–two–one\" or \"4–2–1\" phenomenon\n Helicopter parents\n Narcissism\n Princess sickness\n Spoiled child\n\nReferences\n\nCulture of Hong Kong\nHong Kong children\nHong Kong society\nParenting\nSocial issues in China\nStereotypes of East Asians"
]
|
[
"Robert Hughes (critic)",
"Personal life",
"What was something he did in his personal life?",
"Hughes met his first wife, Danne Emerson, in London in 1967.",
"When did they get married?",
"1967.",
"How long was they married?",
"They divorced in 1981;",
"Did they have kids?",
"Danton,",
"Did they stay married or got a divorce?",
"Hughes was married to his second wife, Victoria Whistler, a housewife from California, from 1981 until a divorce in 1996.",
"Did they have any kids?",
"Danton, Hughes's only child,"
]
| C_235084fc8b5544fc891c4164fca11aae_0 | What else happen in his personal life? | 7 | Besides being married to Danne Emerson and having a child named Danton, what else happen in Robert Hughes's (critic) personal life? | Robert Hughes (critic) | Hughes met his first wife, Danne Emerson, in London in 1967. Together they became involved in the counterculture of the 1960s, exploring drug use and sexual freedom. They divorced in 1981; she died of a brain tumor in 2003. Their son, Danton, Hughes's only child, was named after the French revolutionary Georges Danton. Danton Hughes, a sculptor, committed suicide in April 2001. He had been in a long term relationship with fashion designer Jenny Kee, who found his body on 15 April. Robert Hughes later wrote: "I miss Danton and always will, although we had been miserably estranged for years and the pain of his loss has been somewhat blunted by the passage of time". Hughes was married to his second wife, Victoria Whistler, a housewife from California, from 1981 until a divorce in 1996. In 1999, Hughes was involved in a near-fatal car accident south of Broome, Western Australia. He was returning from a fishing trip and driving on the wrong side of the road when he collided head on with another car carrying three occupants. He was trapped in the car for three hours before being airlifted to Perth in critical condition. Hughes was in a coma for five weeks after the crash. In a 2000 court hearing, Hughes's defence barrister alleged that the occupants of the other car had been transporting illicit drugs at the time of the accident and were at fault. In 2003 Hughes pleaded guilty to dangerous driving causing bodily harm and was fined A$2,500. He also allegedly described the crown prosecutor, Lloyd Rayney, as a "curry muncher", which resulted in a defamation action and out-of-court settlement. Hughes recounts the story of the accident and his recovery in the first chapter of his 2006 memoir Things I Didn't Know. In 2001, Hughes wed his third wife, the American artist and art director Doris Downes. "Apart from being a talented painter, she saved my life, my emotional stability, such as it is", he said. CANNOTANSWER | In 1999, Hughes was involved in a near-fatal car accident south of Broome, Western Australia. | Robert Studley Forrest Hughes AO (28 July 19386 August 2012) was an Australian-born art critic, writer, and producer of television documentaries. He was described in 1997 by Robert Boynton of The New York Times as "the most famous art critic in the world."
Hughes earned widespread recognition for his book and television series on modern art, The Shock of the New, and for his longstanding position as art critic with TIME magazine. He is also known for his best seller The Fatal Shore (1986), a study of the British convict system in early Australian history. Known for his contentious critiques of art and artists, Hughes was generally conservative in his tastes, although he did not belong to a particular philosophical camp. His writing was noted for its power and elegance.
Early life
Hughes was born in Sydney, Australia, in 1938. His father and paternal grandfather were lawyers. Hughes's father, Geoffrey Forrest Hughes, was a pilot in the First World War, with later careers as a solicitor and company director. He died from lung cancer when Robert was aged 12. His mother was Margaret Eyre Sealy, née Vidal. His elder brother was Australian politician Thomas Eyre Forrest Hughes, the father of former Sydney Lord Mayor Lucy Turnbull, the wife of former Australian Prime Minister Malcolm Turnbull. He had another brother Geoffrey and one sister, Constance.
Growing up in Rose Bay, Sydney, Hughes was educated at Saint Ignatius' College, Riverview before studying arts and then architecture at the University of Sydney. At university, he associated with the Sydney "Push" – a group of artists, writers, intellectuals and drinkers. Among the group were Germaine Greer and Clive James.
Career
As an art critic
Hughes, an aspiring artist and poet, abandoned his university endeavours to become first a cartoonist and then an art critic for the Sydney periodical The Observer, edited by Donald Horne. Hughes was briefly involved in the original Sydney version of Oz magazine and wrote art criticism for Nation and The Sunday Mirror.
In 1961, while still a student, Hughes was caught up in controversy when a number of his classmates demonstrated in a student newspaper article that he had published plagiarised poetry by Terence Tiller and others, and a drawing by Leonard Baskin.
Hughes left Australia for Europe in 1964, living for a time in Italy before settling in London in 1965, where he wrote for The Spectator, The Daily Telegraph, The Times, and The Observer, among others, and contributed to the London version of Oz. In 1970 he was appointed art critic for TIME magazine and moved to New York, where he soon became an influential voice.
In 1966 Hughes published a history of Australian painting titled The Art of Australia, still considered an important work.
Hughes wrote and narrated the BBC eight-part series The Shock of the New (1980) on the development of modern art since the Impressionists. It was produced and in part directed by Lorna Pegram. It was accompanied by a book with the same title. John O'Connor of The New York Times said, "Agree or disagree, you will not be bored. Mr. Hughes has a disarming way of being provocative."
Hughes's TV series American Visions (1997) reviewed the history of American art since the Revolution. Hughes's documentary on Francisco Goya, Goya: Crazy Like a Genius (2002), was broadcast on the first night of the new British domestic digital service, BBC Four. He created a one-hour update to The Shock of the New, titled The New Shock of the New, which first aired in 2004. He published the first volume of his memoirs, Things I Didn’t Know, in 2006.
As a journalist and historian
Hughes and Harold Hayes were recruited in 1978 to anchor the new ABC News (US) newsmagazine 20/20. His only broadcast, on 6 June 1978, proved so controversial that, less than a week later, ABC News president Roone Arledge terminated the contracts of both men, replacing them with veteran TV host Hugh Downs.
Hughes's book The Fatal Shore followed in 1987. A study of the British penal colonies and early European settlement of Australia, it became an international best-seller. During the late 1990s, Hughes was a prominent supporter of the Australian Republican Movement. Australia: Beyond the Fatal Shore (2000) was a series musing on modern Australia and Hughes's relationship with it. During production, Hughes was involved in a near-fatal road accident.
Personal life
Hughes met his first wife, Danne Emerson, in London in 1967. Together they became involved in the counterculture of the 1960s, exploring drug use and sexual freedom. They divorced in 1981; she died of a brain tumour in 2003. Their son, Danton, Hughes's only child, was named after the French revolutionary Georges Danton. Danton Hughes, a sculptor, committed suicide in April 2001; he was found by his partner, fashion designer Jenny Kee, with whom he had been in a long-term relationship. Robert Hughes later wrote: "I miss Danton and always will, although we had been miserably estranged for years and the pain of his loss has been somewhat blunted by the passage of time".
Hughes was married to his second wife, Victoria Whistler, from 1981 until a divorce in 1996.
In 1999, Hughes was involved in a near-fatal car accident south of Broome, Western Australia. He was returning from a fishing trip and driving on the wrong side of the road when he collided head on with another car carrying three occupants. He was trapped in the car for three hours before being airlifted to Perth in critical condition. Hughes was in a coma for five weeks after the crash. In a 2000 court hearing, Hughes's defence barrister alleged that the occupants of the other car had been transporting illicit drugs at the time of the accident and were at fault. In 2003 Hughes pleaded guilty to dangerous driving causing bodily harm and was fined A$2,500. He also allegedly described the crown prosecutor, Lloyd Rayney, as a "curry muncher", which resulted in a defamation action and out-of-court settlement. Hughes recounts the story of the accident and his recovery in the first chapter of his 2006 memoir Things I Didn't Know.
In 2001, Hughes wed his third wife, the American artist and art director Doris Downes. "Apart from being a talented painter, she saved my life, my emotional stability, such as it is", he said.
Death
After a long illness, Hughes died at Calvary Hospital in The Bronx, New York, on 6 August 2012, with his wife at his bedside. He was also survived by two stepsons from his wife's previous marriage, Freeborn Garrettson Jewett IV and Fielder Douglas Jewett; his brothers, Tom and Geoffrey Hughes; a sister, Constance Crisp; and many nieces and nephews.
Assessment
When The Shock of the New was proposed to the BBC, television programmers were sceptical that a journalist could properly follow the aristocratic tone of Kenneth Clark, whose Civilisation had been so successful. The Shock of the New proved to be a popular and critical success: it has been assessed "much the best synoptic introduction to modern art ever written", taking as its premise the vitality gained by modern art when it ceded the need to replicate nature in favour of a more direct expression of human experience and emotion. Hughes's explanations of modern art benefited from the coherence of his judgments, and were marked by his ability to summarise the essential qualities of his subject.
Whether positive or negative, his judgments were enthusiastic. He championed London painters like Frank Auerbach and Lucian Freud, helping to popularise the latter in the United States, and wrote with unabashed admiration for Francisco Goya and Pierre Bonnard. By contrast Hughes was dismissive of much postmodernism and neo-expressionism, of painters like Julian Schnabel and David Salle, as well as the vicissitudes of a money-fuelled art market. While his reviews expressed antipathy for the avant-garde, he was beholden neither to any theory nor ideology, and managed to provoke both ends of the political spectrum. He distrusted novelty in art for its own sake, yet he was also disdainful of a conservative aesthetic that avoided risk. Hughes, according to Adam Gopnik, was drawn to work that was rough-hewn, "craft attempted with passion."
Hughes's critical prose, vivid in both praise and indignation, has been compared to that of George Bernard Shaw, Jonathan Swift and William Shakespeare. "His prose", according to a colleague, "was lithe, muscular and fast as a bunch of fives. He was incapable of writing the jargon of the art world, and consequently was treated by its mandarins with fear and loathing." In different moods he could write that "Schnabel’s work is to painting what Stallone’s is to acting: a lurching display of oily pectorals," as well as conclude that Antoine Watteau "was a connoisseur of the unplucked string, the immobility before the dance, the moment that falls between departure and nostalgia."
Artist Jakob Zaaiman has criticised Hughes's grasp of contemporary art, arguing that he was unable to see beyond a narrow and blinkered classical aestheticism, and so failed to appreciate its theatrical and narrative possibilities. This was said to be particularly evident in his views of Andy Warhol.
Honours
Bibliography
Books
(Condensed version of Barcelona)
Critical studies and reviews
Biographies
Anderson, Patricia (2009). Robert Hughes: The Australian Years, Sydney: Pandora Press;
Britain, Ian (1997). Once An Australian: Journeys with Barry Humphries, Clive James, Germaine Greer and Robert Hughes, Oxford University Press;
Notes
External links
Robert Hughes at Random House Australia
Valerie Lawson, Sydney Morning Herald, "After legal jousting and vitriol, Hughes fined in absentia for car crash" (2003)
Eric Ellis, The Bulletin, July 2002, "Shock of the Broome"
1987 audio interview of Robert Hughes by Don Swaim of CBS Radio, RealAudio
The New York Times Magazine – Food: Tuna Surprise (A fisherman's journey to Costa Rica)
The Nation – Christopher Hitchens column on Things I Didn't Know: A Memoir. (25 September 2006)
Enough Rope, ABC TV Interview – Andrew Denton and Robert Hughes. (13 November 2006)
with Hughes on CBC Radio's Writers and Company (January 2008)]
Robert Hughes interviewed on Charlie Rose
World Socialist Web Site obituary by Clare Hurley, "Art History with a capital A and H: Art critic and social historian Robert Hughes"
1938 births
2012 deaths
Australian art historians
Australian art critics
Time (magazine) people
Australian media personalities
Australian historians
Australian memoirists
Australian people of Irish descent
Australian republicans
Historians of Australia
Officers of the Order of Australia
Australian expatriates in the United States
University of Sydney alumni
Frank Jewett Mather Award winners
People educated at Saint Ignatius' College, Riverview
People from Briarcliff Manor, New York
20th-century Australian historians | 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",
"Tunnel vision is a term used when a shooter is focused on a target, and thus misses what goes on around that target. Therefore an innocent bystander may pass in front or behind of the target and be shot accidentally. This is easily understandable if the bystander is not visible in the telescopic sight (see Tunnel vision#Optical instruments), but can also happen without one. In this case, the mental concentration of the shooter is so focused on the target, that they fail to notice anything else.\n\nMarksmanship\nShooting sports"
]
|
[
"Robert Hughes (critic)",
"Personal life",
"What was something he did in his personal life?",
"Hughes met his first wife, Danne Emerson, in London in 1967.",
"When did they get married?",
"1967.",
"How long was they married?",
"They divorced in 1981;",
"Did they have kids?",
"Danton,",
"Did they stay married or got a divorce?",
"Hughes was married to his second wife, Victoria Whistler, a housewife from California, from 1981 until a divorce in 1996.",
"Did they have any kids?",
"Danton, Hughes's only child,",
"What else happen in his personal life?",
"In 1999, Hughes was involved in a near-fatal car accident south of Broome, Western Australia."
]
| C_235084fc8b5544fc891c4164fca11aae_0 | Was he injured? | 8 | Was Robert Hughes (critic) injured in the near-fatal car accident south of Broome, Western Australia in 1999 that he was involved in? | Robert Hughes (critic) | Hughes met his first wife, Danne Emerson, in London in 1967. Together they became involved in the counterculture of the 1960s, exploring drug use and sexual freedom. They divorced in 1981; she died of a brain tumor in 2003. Their son, Danton, Hughes's only child, was named after the French revolutionary Georges Danton. Danton Hughes, a sculptor, committed suicide in April 2001. He had been in a long term relationship with fashion designer Jenny Kee, who found his body on 15 April. Robert Hughes later wrote: "I miss Danton and always will, although we had been miserably estranged for years and the pain of his loss has been somewhat blunted by the passage of time". Hughes was married to his second wife, Victoria Whistler, a housewife from California, from 1981 until a divorce in 1996. In 1999, Hughes was involved in a near-fatal car accident south of Broome, Western Australia. He was returning from a fishing trip and driving on the wrong side of the road when he collided head on with another car carrying three occupants. He was trapped in the car for three hours before being airlifted to Perth in critical condition. Hughes was in a coma for five weeks after the crash. In a 2000 court hearing, Hughes's defence barrister alleged that the occupants of the other car had been transporting illicit drugs at the time of the accident and were at fault. In 2003 Hughes pleaded guilty to dangerous driving causing bodily harm and was fined A$2,500. He also allegedly described the crown prosecutor, Lloyd Rayney, as a "curry muncher", which resulted in a defamation action and out-of-court settlement. Hughes recounts the story of the accident and his recovery in the first chapter of his 2006 memoir Things I Didn't Know. In 2001, Hughes wed his third wife, the American artist and art director Doris Downes. "Apart from being a talented painter, she saved my life, my emotional stability, such as it is", he said. CANNOTANSWER | He was trapped in the car for three hours before being airlifted to Perth in critical condition. | Robert Studley Forrest Hughes AO (28 July 19386 August 2012) was an Australian-born art critic, writer, and producer of television documentaries. He was described in 1997 by Robert Boynton of The New York Times as "the most famous art critic in the world."
Hughes earned widespread recognition for his book and television series on modern art, The Shock of the New, and for his longstanding position as art critic with TIME magazine. He is also known for his best seller The Fatal Shore (1986), a study of the British convict system in early Australian history. Known for his contentious critiques of art and artists, Hughes was generally conservative in his tastes, although he did not belong to a particular philosophical camp. His writing was noted for its power and elegance.
Early life
Hughes was born in Sydney, Australia, in 1938. His father and paternal grandfather were lawyers. Hughes's father, Geoffrey Forrest Hughes, was a pilot in the First World War, with later careers as a solicitor and company director. He died from lung cancer when Robert was aged 12. His mother was Margaret Eyre Sealy, née Vidal. His elder brother was Australian politician Thomas Eyre Forrest Hughes, the father of former Sydney Lord Mayor Lucy Turnbull, the wife of former Australian Prime Minister Malcolm Turnbull. He had another brother Geoffrey and one sister, Constance.
Growing up in Rose Bay, Sydney, Hughes was educated at Saint Ignatius' College, Riverview before studying arts and then architecture at the University of Sydney. At university, he associated with the Sydney "Push" – a group of artists, writers, intellectuals and drinkers. Among the group were Germaine Greer and Clive James.
Career
As an art critic
Hughes, an aspiring artist and poet, abandoned his university endeavours to become first a cartoonist and then an art critic for the Sydney periodical The Observer, edited by Donald Horne. Hughes was briefly involved in the original Sydney version of Oz magazine and wrote art criticism for Nation and The Sunday Mirror.
In 1961, while still a student, Hughes was caught up in controversy when a number of his classmates demonstrated in a student newspaper article that he had published plagiarised poetry by Terence Tiller and others, and a drawing by Leonard Baskin.
Hughes left Australia for Europe in 1964, living for a time in Italy before settling in London in 1965, where he wrote for The Spectator, The Daily Telegraph, The Times, and The Observer, among others, and contributed to the London version of Oz. In 1970 he was appointed art critic for TIME magazine and moved to New York, where he soon became an influential voice.
In 1966 Hughes published a history of Australian painting titled The Art of Australia, still considered an important work.
Hughes wrote and narrated the BBC eight-part series The Shock of the New (1980) on the development of modern art since the Impressionists. It was produced and in part directed by Lorna Pegram. It was accompanied by a book with the same title. John O'Connor of The New York Times said, "Agree or disagree, you will not be bored. Mr. Hughes has a disarming way of being provocative."
Hughes's TV series American Visions (1997) reviewed the history of American art since the Revolution. Hughes's documentary on Francisco Goya, Goya: Crazy Like a Genius (2002), was broadcast on the first night of the new British domestic digital service, BBC Four. He created a one-hour update to The Shock of the New, titled The New Shock of the New, which first aired in 2004. He published the first volume of his memoirs, Things I Didn’t Know, in 2006.
As a journalist and historian
Hughes and Harold Hayes were recruited in 1978 to anchor the new ABC News (US) newsmagazine 20/20. His only broadcast, on 6 June 1978, proved so controversial that, less than a week later, ABC News president Roone Arledge terminated the contracts of both men, replacing them with veteran TV host Hugh Downs.
Hughes's book The Fatal Shore followed in 1987. A study of the British penal colonies and early European settlement of Australia, it became an international best-seller. During the late 1990s, Hughes was a prominent supporter of the Australian Republican Movement. Australia: Beyond the Fatal Shore (2000) was a series musing on modern Australia and Hughes's relationship with it. During production, Hughes was involved in a near-fatal road accident.
Personal life
Hughes met his first wife, Danne Emerson, in London in 1967. Together they became involved in the counterculture of the 1960s, exploring drug use and sexual freedom. They divorced in 1981; she died of a brain tumour in 2003. Their son, Danton, Hughes's only child, was named after the French revolutionary Georges Danton. Danton Hughes, a sculptor, committed suicide in April 2001; he was found by his partner, fashion designer Jenny Kee, with whom he had been in a long-term relationship. Robert Hughes later wrote: "I miss Danton and always will, although we had been miserably estranged for years and the pain of his loss has been somewhat blunted by the passage of time".
Hughes was married to his second wife, Victoria Whistler, from 1981 until a divorce in 1996.
In 1999, Hughes was involved in a near-fatal car accident south of Broome, Western Australia. He was returning from a fishing trip and driving on the wrong side of the road when he collided head on with another car carrying three occupants. He was trapped in the car for three hours before being airlifted to Perth in critical condition. Hughes was in a coma for five weeks after the crash. In a 2000 court hearing, Hughes's defence barrister alleged that the occupants of the other car had been transporting illicit drugs at the time of the accident and were at fault. In 2003 Hughes pleaded guilty to dangerous driving causing bodily harm and was fined A$2,500. He also allegedly described the crown prosecutor, Lloyd Rayney, as a "curry muncher", which resulted in a defamation action and out-of-court settlement. Hughes recounts the story of the accident and his recovery in the first chapter of his 2006 memoir Things I Didn't Know.
In 2001, Hughes wed his third wife, the American artist and art director Doris Downes. "Apart from being a talented painter, she saved my life, my emotional stability, such as it is", he said.
Death
After a long illness, Hughes died at Calvary Hospital in The Bronx, New York, on 6 August 2012, with his wife at his bedside. He was also survived by two stepsons from his wife's previous marriage, Freeborn Garrettson Jewett IV and Fielder Douglas Jewett; his brothers, Tom and Geoffrey Hughes; a sister, Constance Crisp; and many nieces and nephews.
Assessment
When The Shock of the New was proposed to the BBC, television programmers were sceptical that a journalist could properly follow the aristocratic tone of Kenneth Clark, whose Civilisation had been so successful. The Shock of the New proved to be a popular and critical success: it has been assessed "much the best synoptic introduction to modern art ever written", taking as its premise the vitality gained by modern art when it ceded the need to replicate nature in favour of a more direct expression of human experience and emotion. Hughes's explanations of modern art benefited from the coherence of his judgments, and were marked by his ability to summarise the essential qualities of his subject.
Whether positive or negative, his judgments were enthusiastic. He championed London painters like Frank Auerbach and Lucian Freud, helping to popularise the latter in the United States, and wrote with unabashed admiration for Francisco Goya and Pierre Bonnard. By contrast Hughes was dismissive of much postmodernism and neo-expressionism, of painters like Julian Schnabel and David Salle, as well as the vicissitudes of a money-fuelled art market. While his reviews expressed antipathy for the avant-garde, he was beholden neither to any theory nor ideology, and managed to provoke both ends of the political spectrum. He distrusted novelty in art for its own sake, yet he was also disdainful of a conservative aesthetic that avoided risk. Hughes, according to Adam Gopnik, was drawn to work that was rough-hewn, "craft attempted with passion."
Hughes's critical prose, vivid in both praise and indignation, has been compared to that of George Bernard Shaw, Jonathan Swift and William Shakespeare. "His prose", according to a colleague, "was lithe, muscular and fast as a bunch of fives. He was incapable of writing the jargon of the art world, and consequently was treated by its mandarins with fear and loathing." In different moods he could write that "Schnabel’s work is to painting what Stallone’s is to acting: a lurching display of oily pectorals," as well as conclude that Antoine Watteau "was a connoisseur of the unplucked string, the immobility before the dance, the moment that falls between departure and nostalgia."
Artist Jakob Zaaiman has criticised Hughes's grasp of contemporary art, arguing that he was unable to see beyond a narrow and blinkered classical aestheticism, and so failed to appreciate its theatrical and narrative possibilities. This was said to be particularly evident in his views of Andy Warhol.
Honours
Bibliography
Books
(Condensed version of Barcelona)
Critical studies and reviews
Biographies
Anderson, Patricia (2009). Robert Hughes: The Australian Years, Sydney: Pandora Press;
Britain, Ian (1997). Once An Australian: Journeys with Barry Humphries, Clive James, Germaine Greer and Robert Hughes, Oxford University Press;
Notes
External links
Robert Hughes at Random House Australia
Valerie Lawson, Sydney Morning Herald, "After legal jousting and vitriol, Hughes fined in absentia for car crash" (2003)
Eric Ellis, The Bulletin, July 2002, "Shock of the Broome"
1987 audio interview of Robert Hughes by Don Swaim of CBS Radio, RealAudio
The New York Times Magazine – Food: Tuna Surprise (A fisherman's journey to Costa Rica)
The Nation – Christopher Hitchens column on Things I Didn't Know: A Memoir. (25 September 2006)
Enough Rope, ABC TV Interview – Andrew Denton and Robert Hughes. (13 November 2006)
with Hughes on CBC Radio's Writers and Company (January 2008)]
Robert Hughes interviewed on Charlie Rose
World Socialist Web Site obituary by Clare Hurley, "Art History with a capital A and H: Art critic and social historian Robert Hughes"
1938 births
2012 deaths
Australian art historians
Australian art critics
Time (magazine) people
Australian media personalities
Australian historians
Australian memoirists
Australian people of Irish descent
Australian republicans
Historians of Australia
Officers of the Order of Australia
Australian expatriates in the United States
University of Sydney alumni
Frank Jewett Mather Award winners
People educated at Saint Ignatius' College, Riverview
People from Briarcliff Manor, New York
20th-century Australian historians | true | [
"Justin Currie (born September 19, 1993) is an American football safety and linebacker who is currently a free agent. He played college football at Western Michigan and was signed by the New York Giants as an undrafted free agent in 2015.\n\nProfessional career\n\nNew York Giants\nOn May 7, 2015, Currie was signed by the New York Giants as an undrafted free agent. He fractured his ankle in a preseason game against the Jaguars and spent his entire rookie year on injured reserve.\n\nOn September 3, 2016, Currie was released by the Giants.\n\nCleveland Browns\nOn December 7, 2016, Currie was signed to the Cleveland Browns' practice squad. He signed a reserve/future contract with the Browns on January 2, 2017.\n\nOn August 23, 2017, Currie was waived/injured by the Browns after suffering an ankle injury in the team's second preseason game. He was re-signed by the Browns on November 21, 2017. He was waived on November 30, 2017 and was re-signed to the practice squad. He was promoted to the active roster on December 8, 2017.\n\nOn August 31, 2018, Currie was waived/injured by the Browns and was placed on injured reserve. He was released on September 11, 2018.\n\nSeattle Seahawks\nOn October 23, 2018, Currie was signed to the Seattle Seahawks practice squad. He signed a reserve/future contract on January 7, 2019. He was waived/injured on August 31, 2019 and placed on injured reserve. He was waived from injured reserve on September 30.\n\nReferences\n\nExternal links\nWestern Michigan Broncos bio\n\nLiving people\n1993 births\nAmerican football defensive backs\nCleveland Browns players\nNew York Giants players\nPeople from Big Rapids, Michigan\nPlayers of American football from Michigan\nSeattle Seahawks players\nSportspeople from Royal Oak, Michigan\nWestern Michigan Broncos football players",
"Blake Cashman (born May 10, 1996) is an American football linebacker for the New York Jets of the National Football League (NFL). He played college football at Minnesota and was drafted by the Jets in the fifth round of the 2019 NFL Draft.\n\nProfessional career\nCashman was drafted by the New York Jets in the fifth round (157th overall) of the 2019 NFL Draft. He was placed on injured reserve on November 1, 2019.\n\nOn September 15, 2020, Cashman was placed on injured reserve after suffering a groin injury in Week 1. He was activated on October 17. On December 3, 2020, he was placed back on injured reserve after suffering a hamstring injury.\n\nOn September 14, 2021, Cashman was placed on injured reserve. He was activated on October 9, 2021. He was placed back on injured reserve after suffering a groin injury in Week 7.\n\nReferences\n\nExternal links\nMinnesota Golden Gophers bio\n\n1996 births\nLiving people\nPeople from Eden Prairie, Minnesota\nPlayers of American football from Minnesota\nSportspeople from the Minneapolis–Saint Paul metropolitan area\nAmerican football linebackers\nMinnesota Golden Gophers football players\nNew York Jets players"
]
|
[
"Sanjay Dutt",
"2007-2009"
]
| C_656b9bc145184e728cf2fcded320f03f_0 | Did Sanjay Dutt star in any major films in 2007? | 1 | Did Sanjay Dutt star in any major films in 2007? | Sanjay Dutt | Abdul Qayyum Abdul Karim Shaikh, who was thought to be a close aide of the terrorists' ringleader, Dawood Ibrahim, was arrested. Dutt had given Qayuum's name to the police when confessing to arms possession, saying that in September 1992 he had bought a pistol from Qayuum in Dubai. On 31 July 2007, the TADA court sentenced Dutt to six years' rigorous imprisonment for illegal possession of weapons and cleared him of charges relating to the Mumbai blasts. According to The Guardian, "The actor claimed he feared for his life after the notorious "Black Friday" bombings, which were allegedly staged by Mumbai's Muslim-dominated mafia in retaliation for deadly Hindu-Muslim clashes a few months earlier. But the judge rejected this defence and also refused bail." Dutt was returned to jail at Arthur Road and soon after moved to the Yerwada Central Jail in Pune. Dutt appealed against the sentence and was granted interim bail on 20 August 2007 until such time as the TADA court provided him with a copy of its judgement. On 22 October 2007 Dutt was back in jail but again applied for bail. On 27 November 2007, Dutt was granted bail by the Supreme Court. On 21 March 2013 the Supreme Court upheld the verdict of the TADA court but shortened the sentence to five years' imprisonment. Dutt was given a month to surrender before the authorities. Dutt has said that "I am not a politician but I belong to a political family." He was persuaded by a close friend to contest the 2009 Lok Sabha elections as a candidate for the Samajwadi Party but withdrew when the court refused to suspend his conviction. He was then appointed General Secretary of the party, leaving that post in December 2010. CANNOTANSWER | CANNOTANSWER | Sanjay Balraj Dutt (born 29 July 1959) is an Indian actor who works in Hindi films. He is the recipient of several awards, including two Filmfare Awards and three Screen Awards. Dutt acted in 187 films, ranging from romance to comedy genres, but is usually typecast in action genres, and established himself as one of the most popular Hindi film actors of the later 1980s, 1990s, 2000s, and 2010s.
The son of actors Sunil Dutt and Nargis, Dutt made his acting debut in Rocky (1981), which was directed by his father. The crime thriller Naam (1985) proved to be a turning point in his career, which was followed by a series of commercially successful films in that decade, including Jeete Hain Shaan Se (1988), Mardon Wali Baat (1988), Ilaaka (1989), Hum Bhi Insaan Hain (1989) and Kanoon Apna Apna (1989). He earned nominations for the Filmfare Award for Best Actor for Saajan (1991) and Khalnayak (1993). Dutt earned his first Best Actor at the ceremony for playing a common man-turned-gangster in Vaastav: The Reality (1999). Along with Vaastav: The Reality, he also won accolades for playing an army officer in Mission Kashmir (2001), a soft-hearted goofy gangster in Munna Bhai M.B.B.S. (2003) and its sequel Lage Raho Munna Bhai (2006).
Dutt was arrested under the TADA and the Arms Act in April 1993 and was convicted for violation of Arms Act for possession of illegal weapons procured from other accused in the 1993 Bombay bombings. After serving his sentence, he was released in 2016. Dutt's life receives considerable media coverage in India, and in 2018, Sanju, a biopic based on his life (which also saw a special appearance by him), was released to positive reviews and emerged as one of the highest-grossers of Indian cinema.
Early life
Dutt was born on 29th July, 1959 in Bombay to noted cinema actors Sunil Dutt and Nargis. He has two sisters, Priya Dutt and Namrata Dutt. Sanjay's name was chosen by crowdsourcing via the Urdu language film magazine Shama. His mother died in 1981, shortly before his debut film's premiere; her death is cited as the instigator of his drug abuse. As a child actor, Dutt appeared briefly as a qawali singer in the 1972 film Reshma Aur Shera, which starred his father.
Career
Early career and breakthrough (1981–1993)
Dutt made his Bollywood movie debut with the box-office super hit Rocky in 1981. Dutt then went on to star in Vidhaata, the highest-grossing Hindi film of 1982, along with film veterans Dilip Kumar, Shammi Kapoor and Sanjeev Kumar. He also starred in movies like Main Awara Hoon (1983). In 1985 he shot Jaan Ki Baazi, his first film in two years.
The 1986 film Naam was a turning point in Dutt's career, it was a major commercial and critical success. Dutt appeared in successful films throughout the '80s such as Imaandaar, Inaam Dus Hazaar, Jeete Hain Shaan Se (1988), Mardon Wali Baat (1988), Ilaaka (1989), Hum Bhi Insaan Hain (1989), Kanoon Apna Apna (1989) and Taaqatwar.
His performances in both Kabzaa (1988) and J. P. Dutta's 1989 Hathyar were both well received by critics although both films only managed average collections at the box office. In the late 1980s he was seen in a number of multi-starrers alongside leading actors like Govinda, Mithun, Dharmendra, Jackie Shroff and Sunny Deol.
His successes continued in the 1990s, with films that include Tejaa, Khatarnaak, Zahreelay, Thanedaar, Khoon Ka Karz, Yalgaar, Gumrah, Sahibaan and Aatish: Feel the Fire. He went on to star in some of the most era-defining Indian films of the early 1990s such as Sadak, Saajan (for which he was nominated for the Filmfare Best Actor Award) and Khalnayak, for which he earned his second Filmfare Best Actor Award nomination.
The Hindu wrote that "Sanjay's earlier films (like Naam and Sadak) got him a lot of favourable attention." and "Saajan established Sanjay Dutt as the conventional soft hero."Saajan was the highest-grossing Bollywood film of 1991, and Sadak was the fifth highest grosser of 1991. Khalnayak became a blockbuster and was the second-highest grosser of 1993. This was followed by another box office success Gumrah, this was Dutt's second consecutive hit of the year.
Arrest due to involvement in 1993 serial bombings, films after arrest (1993 - 1999)
Bombay (now Mumbai) suffered a series of serial bombings in 1993. Dutt was among several people associated with Bollywood who were accused of involvement. It was alleged that Dutt accepted a delivery of weapons at his house from Abu Salem and co-accused Riyaz Siddiqui, who had also been implicated in relation to the Mumbai blasts. It was claimed that the weapons formed a part of a large consignment of arms connected to the terrorists. Dutt, however, in his confession stated that he took only one Type-56 from the producers of his movie Sanam, for his own family protection. It has also been reported that Sanjay Dutt's father Sunil Dutt's political rivalry caused Sanjay Dutt's conviction.. Dutt's first film after his 1993 arrest was Daud (1997). It did average business at the box office despite getting a lot of publicity. This was followed by Dushman which did well financially.
Comeback (1999 – 2003)
1999 was an excellent year for Dutt and one that is regarded as his comeback, with all of his five releases being amongst the highest-grossing films of that year. He began it by starring in the Mahesh Bhatt-directed film Kartoos, followed by Khoobsurat, Haseena Maan Jaayegi, Daag: The Fire and Vaastav: The Reality, for which he won many awards, including his first Filmfare Best Actor Award. His role in 2000's Mission Kashmir won him critical acclaim and a number of awards and nominations. Dutt was also invited by the President of India to Rashtrapati Bhavan for his performance in the movie.
Breakthrough with Munna Bhai M.B.B.S., prolonged success (2003 - present)
As the decade went on, he continued to play lead roles in popular and critical successes such as Jodi No.1 (2001), Pitaah (2002), Kaante (2002) and the National Award-winning film Munna Bhai M.B.B.S. (2003), which garnered him several awards. At the box office Munna Bhai M.B.B.S. achieved a silver jubilee status (25-week run) being one of only eight films to have achieved this status since the year 2000. In its 26th week of release, the film could still be found playing on 257 screens throughout India. Later successes came with Musafir (2004), Plan (2004), Parineeta (2005) and Dus (2005). He won critical acclaim for his performances in Shabd (2005) and Zinda.
The sequel of Munna Bhai M.B.B.S., Lage Raho Munna Bhai was released in late 2006. Dutt received a number of awards for his performance in the film, along with an award from the Prime Minister Manmohan Singh for his work in the Munna bhai series. NDTV India counted the character Munna Bhai as one of top 20 fictional characters in Bollywood. Later Dutt starred in movies like Dhamaal (2007), Shootout at Lokhandwala (2007), All the Best (2009), Double Dhamaal (2011), Son of Sardaar (2012) Agneepath (2012) and PK.
In January 2008, the Indian film Institute Filmfare listed 12 films featuring Dutt in its list of top 100 highest-grossing movies of all time. In its May 2013 edition "100 years of Indian cinema" Filmfare listed three films featuring Dutt in its top 20 list of highest-grossing Hindi films of all time, adjusted for inflation these films were Lage Raho Munna Bhai, Khalnayak and Saajan.
Vidhu Vinod Chopra on 29 September 2016 announced that the third part of Munna Bhai series, starring Dutt in the title role, would begin soon. In 2017, Dutt appeared as the lead in Bhoomi, directed by Omung Kumar. In 2018, he starred in Saheb, Biwi Aur Gangster 3. In 2018, it was also announced that Dutt would feature alongside Ranbir Kapoor and Vaani Kapoor in Shamshera, which will release on 31 July 2020. On 29 June 2018, his biopic Sanju released in which he made a special appearance. Dutt and Alia Bhatt are currently shooting for Sadak 2. In 2019, he joined the cast of historical film Bhuj: The Pride of India, which will feature an ensemble cast consisting of Ajay Devgn, Sonakshi Sinha and Parineeti Chopra. He was seen in the film Prassthanam on 20 September 2019.
Dutt is currently working as the main antagonist on K.G.F: Chapter 2, the sequel to the blockbuster Kannada film, K.G.F: Chapter 1, marking his debut in Kannada cinema. Sanjay Dutt will now appear in films like Shamshera, RRR and Prithviraj.
Off-screen work
Dutt co-hosted the fifth season of the Indian reality show Bigg Boss along with Salman Khan. The show aired on Colors television from 2 October 2011 to 7 January 2012. Dutt later said it was Khan who persuaded him to co-host the show. Dutt and entrepreneur Indian Premier League cricket team owner Raj Kundra together launched India's first professionally organised mixed martial arts league—the Super Fight League—on 16 January 2012.
Personal life and media image
In the early 1980s, Dutt had a relationship with his co-star from his first film, Tina Munim. After this relationship ended, Dutt married actress Richa Sharma in 1987. She died of a brain tumour in 1996. The couple have a daughter, Trishala Dutt, born in 1988, who lives in the United States with her maternal grandparents.
Dutt's second marriage was to air-hostess-turned-model Rhea Pillai in February 1998. The divorce finalised in 2008. Dutt married Manyata (born Dilnawaz Sheikh) first registered in Goa in 2008 and then, in a Hindu ceremony in Mumbai, after two years of dating. On 21 October 2010, he became a father to twins, a boy and a girl.
He is a devout Shaiva Hindu who has read holy scriptures and theological works.
Bombay (now Mumbai) suffered a series of serial bombings in 1993. Dutt was among several people associated with Bollywood who were accused of involvement. It was alleged that Dutt accepted a delivery of weapons at his house from Abu Salem and co-accused Riyaz Siddiqui, who had also been implicated in relation to the Mumbai blasts. It was claimed that the weapons formed a part of a large consignment of arms connected to the terrorists. Dutt, however, in his confession stated that he took only one Type-56 from the producers of his movie Sanam, for his own family protection. It has also been reported that Sanjay Dutt's father Sunil Dutt's political rivalry caused Sanjay Dutt's conviction.
In April 1993, after initial reporting by Baljeet Parmar on Dutt's possession of the AK-56, he was arrested under the provisions of the Terrorist and Disruptive Activities (Prevention) Act (TADA). Dutt was granted bail by the Supreme Court of India on 5 May 1993; however, on 4 July 1994 his bail was cancelled and he was re-arrested. On 16 October 1995 he was granted bail. Abdul Qayyum Abdul Karim Shaikh, who was thought to be a close aide of the terrorists' ringleader, Dawood Ibrahim, was arrested. Dutt had given Qayuum's name to the police when confessing to arms possession, saying that in September 1992 he had bought a pistol from Qayuum in Dubai. His arrest coincided with the release of his film, Khalnayak, in which he played a wanted criminal. The film's major success was in part due to Dutt's off-screen legal controversy.
On 31 July 2007, Dutt was cleared of the charges relating to the Mumbai blast; however, the TADA court sentenced Dutt to six years' rigorous imprisonment under Arms act for illegal possession of weapons. According to The Guardian, "The actor claimed he feared for his life after the notorious 'Black Friday' bombings, which were allegedly staged by Mumbai's Muslim-dominated mafia in retaliation for deadly Hindu-Muslim clashes a few months earlier. But the judge rejected this defence and also refused bail." Dutt was returned to at the Arthur Road Jail and soon after moved to the Yerawada Central Jail in Pune. Dutt appealed against the sentence and was granted interim bail on 20 August 2007 until such time as the TADA court provided him with a copy of its judgement. On 22 October 2007 Dutt was back in jail but again applied for bail. On 27 November 2007, Dutt was granted bail by the Supreme Court. On 21 March 2013 the Supreme Court upheld the verdict but shortened the sentence to five years' imprisonment. Dutt was given a month to surrender before the authorities.
Dutt has said that "I am not a politician but I belong to a political family." He was persuaded by a close friend to contest the 2009 Lok Sabha elections as a candidate for the Samajwadi Party, but withdrew when the court refused to suspend his conviction. He was then appointed General Secretary of the Samajwadi Party, leaving that post in December 2010. In March 2013 the Supreme Court upheld Dutt's five-year sentence, 18 months of which he already spent in jail during the trial. He was given four weeks to surrender to the authorities, the court having refused to release him on probation due to the severity of the offence.
On 10 May, the Supreme Court rejected Dutt's review petition for the reconsideration of his conviction and asked him to surrender on the stipulated date. on 14 May, Dutt withdrew the mercy plea and surrendered to the Mumbai Police on 16 May 2013. Just before the surrender, the Mumbai jail authority got an anonymous letter threatening Dutt's life. Dutt filed an appeal to allow him to surrender before entering Yerwada Central Jail. Later, Dutt withdrew this request too. He was paroled from 21 December 2013. The parole was extended three times until March 2014, raising concern in Bombay High Court and a proposal from the Government of Maharashtra to amend the law of parole. He returned to Yerwada Central Jail after his parole ended. Dutt was out on a two weeks' furlough granted by the Yerwada Central Jail authorities on 24 December. He was subsequently incarcerated in Yerwada Central Jail, to complete his jail term. He was released from there on 25 February 2016 after serving his sentence.
Health issues
Dutt was diagnosed with stage 3 lung cancer in August 2020. He did his treatment in Mumbai and now recovered from lung cancer.
In popular culture
The author Yasser Usman published a biographical book on Dutt, titled Sanjay Dutt: The Crazy Untold Story of Bollywood's Bad Boy, in 2018.
A film based on his life, Sanju, in which Ranbir Kapoor portrays the role of Dutt.
In 2021, Punjabi Singer from Brampton, Sidhu Moose Wala had also made a song Sanju, comparing his AK-47 possession and firing case with Sanjay Dutt.
Bibliography
References
External links
Male actors in Hindi cinema
Living people
1959 births
Filmfare Awards winners
Indian male child actors
Indian male singers
Lawrence School, Sanawar alumni
Politicians from Mumbai
Samajwadi Party politicians
Male actors from Mumbai
Film producers from Mumbai
Indian actor-politicians
Bigg Boss
Indian game show hosts
Punjabi people
20th-century Indian male actors
21st-century Indian male actors
Indian male comedians
Hindi film producers
Indian criminals
Indian Hindus | false | [
"Manyata Dutt (born July 22, 1978), simply known as Manyata, is an Indian entrepreneur, former actress and the current CEO of Sanjay Dutt Productions. She married Bollywood actor Sanjay Dutt in 2008. She is best known for her item number in Prakash Jha's 2003-hit Gangaajal.\n\nPersonal life\n\nManyata Dutt was born in a Muslim family on 22 July 1978; in Mumbai. She was raised in Dubai. She was known as Sara Khan in the film industry. After her launch in Kamaal Rashid Khan's Deshdrohi in 2008, she was given the screen name \"Manyata\", by Jha, but her aspirations to become a star ended when her father died, leaving the responsibility of the family business on her.\n\nShe married Sanjay Dutt on 7 February 2008 in a private wedding in Goa. After two years she became the mother of twins, a boy named Shahraan and a girl named Iqra on 21 October 2010.\n\nCareer\nPrior to her marriage and before she met Dutt, Maanayata worked in Hindi films, such as Lovers Like Us, opposite actor Nimit Vaishnav. The rights of the film were later purchased by Sanjay Dutt for Rs. 20 lakh.\n\nIn popular culture\nIn the biographical film Sanju, directed by Rajkumar Hirani, which has been released on 29 June 2018, based on the life of Sanjay Dutt, her part has been portrayed by the actress Dia Mirza, while Ranbir Kapoor has portrayed the title role.\n\nReferences\n\nExternal links \n\n \n \n\n1978 births\nLiving people\n21st-century Indian actresses\nActresses in Hindi cinema\nIndian film actresses\nActresses from Mumbai\nPeople named in the Paradise Papers",
"Chatur Singh Two Star is a 2011 Indian Hindi-language action comedy film directed by Ajay Chandhok, starring Sanjay Dutt, Ameesha Patel and Suresh Menon in the lead roles. Produced by Mohammad Aslam and Parag Sanghvi. It was released on 19 August 2011. The film is based on the novel Chalaak Jasoos and the 2006 Hollywood film, The Pink Panther.\n\nThe film was a critical and commercial failure as it received negative reception from both critics and cinema-goers.\n\nPlot\nBumbling cop Chatur Singh (Sanjay Dutt) is sent on a special mission to South Africa to solve a high-profile case involving the murder of a politician and a cache of diamonds. But before he can redeem his botched-up career he must deal with a bunch of loonies which includes a crazy mafia don (Satish Kaushik), a weird taxi driver (Sanjay Mishra), a hysterical boss (Anupam Kher), and a pretty damsel in distress (Ameesha Patel).\n\nCast\n Sanjay Dutt as Chatur Singh 2 Star / James Armani\n Ameesha Patel as Sonia Varma\n Suresh Menon as Purushutam Singh (Pappu Panther)\n Anupam Kher as Commissioner Rajpal Sinha / Dr Jhatka\n Vishwajeet Pradhan as DGP Kulkarni\n Satish Kaushik as Gullu Gulfam\n Shakti Kapoor as Don Chihuhua\n Gulshan Grover as Agriculture Minister Y.Y. Singh\n Sanjay Mishra as Lallan Kupleri\n Murli Sharma as Tony\n Rati Agnihotri as Savitri Y. Singh\n Indira Krishnan as Sonia's Sister\n Ganesh Yadav as Inspector Yadav\n\nProduction\nThe film was announced in late 2007 with Sanjay Dutt cast for the role of Chatur Singh. During June 2008, filming began in India and the following schedule was filmed in Cape Town, South Africa during July and August in the same year. In 2009, some of the remaining portions were completed and the film moved to its post-production stage in early 2010.\n\nThe theatrical trailer of the film was released on 21 July 2011 online and also in cinemas with Singham (2011).\n\nReception\n\nCritical\nMost critics were dismissive. Vandana Krishnan of Behindwoods rated it as 0.5 out of 5 and said \"Chathur Singh 2 star is not even worth half a star.\" Rajeev Masand of CNN-IBN gave it one star out of five saying that it is \"Strictly avoidable. Unless you're one for self-punishment.\" Saibal Chatterjee of NDTV gave it zero stars and said \"This is a film that proffers madness without the slightest semblance of method. It's just as well that there are two stars in its title. It doesn't deserve any.\" Shubhra Gupta of The Indian Express gave the film one star concluding \"There is no story in 'Chatur Singh, Two Star’. And the only story to 'Chatur Singh, Two Star’ seems to one of delusion : that the people involved in it, were making a film.\" Taran Adarsh of Bollywood Hungama awarded one and a half stars saying \"Chatur Singh Two Star tries hard to make you laugh, but fails in its endeavour.\" Rediff.com gave it zero stars, too. Nupur Barua of fullhyd.com called it a sorry excuse of a movie, warning \"you may get suicidal at the end of it\".\n\nBox office\nChatur Singh Two Star earned 30 million in its full theatrical run. The film grossed 130 million worldwide. It was declared a flop.\n\nSoundtrack\n\nThe film's soundtrack is composed by Sajid–Wajid with lyrics penned by Jalees Sherwani, Shabbir Ahmed, Junaid Wasi, Asif Ali Baig. The soundtrack was released to YouTube's official channel on 29 July 2011.\n\nTrack listing\n\nReferences\n\nExternal links\n \n \n\nIndian films\n2010s Hindi-language films\nIndian action comedy films\n2011 films\nIndian detective films\n2011 action comedy films"
]
|
[
"Sanjay Dutt",
"2007-2009",
"Did Sanjay Dutt star in any major films in 2007?",
"I don't know."
]
| C_656b9bc145184e728cf2fcded320f03f_0 | Did Sanjay Dutt act in any films between 2007 and 2009? | 2 | Did Sanjay Dutt act in any films between 2007 and 2009? | Sanjay Dutt | Abdul Qayyum Abdul Karim Shaikh, who was thought to be a close aide of the terrorists' ringleader, Dawood Ibrahim, was arrested. Dutt had given Qayuum's name to the police when confessing to arms possession, saying that in September 1992 he had bought a pistol from Qayuum in Dubai. On 31 July 2007, the TADA court sentenced Dutt to six years' rigorous imprisonment for illegal possession of weapons and cleared him of charges relating to the Mumbai blasts. According to The Guardian, "The actor claimed he feared for his life after the notorious "Black Friday" bombings, which were allegedly staged by Mumbai's Muslim-dominated mafia in retaliation for deadly Hindu-Muslim clashes a few months earlier. But the judge rejected this defence and also refused bail." Dutt was returned to jail at Arthur Road and soon after moved to the Yerwada Central Jail in Pune. Dutt appealed against the sentence and was granted interim bail on 20 August 2007 until such time as the TADA court provided him with a copy of its judgement. On 22 October 2007 Dutt was back in jail but again applied for bail. On 27 November 2007, Dutt was granted bail by the Supreme Court. On 21 March 2013 the Supreme Court upheld the verdict of the TADA court but shortened the sentence to five years' imprisonment. Dutt was given a month to surrender before the authorities. Dutt has said that "I am not a politician but I belong to a political family." He was persuaded by a close friend to contest the 2009 Lok Sabha elections as a candidate for the Samajwadi Party but withdrew when the court refused to suspend his conviction. He was then appointed General Secretary of the party, leaving that post in December 2010. CANNOTANSWER | CANNOTANSWER | Sanjay Balraj Dutt (born 29 July 1959) is an Indian actor who works in Hindi films. He is the recipient of several awards, including two Filmfare Awards and three Screen Awards. Dutt acted in 187 films, ranging from romance to comedy genres, but is usually typecast in action genres, and established himself as one of the most popular Hindi film actors of the later 1980s, 1990s, 2000s, and 2010s.
The son of actors Sunil Dutt and Nargis, Dutt made his acting debut in Rocky (1981), which was directed by his father. The crime thriller Naam (1985) proved to be a turning point in his career, which was followed by a series of commercially successful films in that decade, including Jeete Hain Shaan Se (1988), Mardon Wali Baat (1988), Ilaaka (1989), Hum Bhi Insaan Hain (1989) and Kanoon Apna Apna (1989). He earned nominations for the Filmfare Award for Best Actor for Saajan (1991) and Khalnayak (1993). Dutt earned his first Best Actor at the ceremony for playing a common man-turned-gangster in Vaastav: The Reality (1999). Along with Vaastav: The Reality, he also won accolades for playing an army officer in Mission Kashmir (2001), a soft-hearted goofy gangster in Munna Bhai M.B.B.S. (2003) and its sequel Lage Raho Munna Bhai (2006).
Dutt was arrested under the TADA and the Arms Act in April 1993 and was convicted for violation of Arms Act for possession of illegal weapons procured from other accused in the 1993 Bombay bombings. After serving his sentence, he was released in 2016. Dutt's life receives considerable media coverage in India, and in 2018, Sanju, a biopic based on his life (which also saw a special appearance by him), was released to positive reviews and emerged as one of the highest-grossers of Indian cinema.
Early life
Dutt was born on 29th July, 1959 in Bombay to noted cinema actors Sunil Dutt and Nargis. He has two sisters, Priya Dutt and Namrata Dutt. Sanjay's name was chosen by crowdsourcing via the Urdu language film magazine Shama. His mother died in 1981, shortly before his debut film's premiere; her death is cited as the instigator of his drug abuse. As a child actor, Dutt appeared briefly as a qawali singer in the 1972 film Reshma Aur Shera, which starred his father.
Career
Early career and breakthrough (1981–1993)
Dutt made his Bollywood movie debut with the box-office super hit Rocky in 1981. Dutt then went on to star in Vidhaata, the highest-grossing Hindi film of 1982, along with film veterans Dilip Kumar, Shammi Kapoor and Sanjeev Kumar. He also starred in movies like Main Awara Hoon (1983). In 1985 he shot Jaan Ki Baazi, his first film in two years.
The 1986 film Naam was a turning point in Dutt's career, it was a major commercial and critical success. Dutt appeared in successful films throughout the '80s such as Imaandaar, Inaam Dus Hazaar, Jeete Hain Shaan Se (1988), Mardon Wali Baat (1988), Ilaaka (1989), Hum Bhi Insaan Hain (1989), Kanoon Apna Apna (1989) and Taaqatwar.
His performances in both Kabzaa (1988) and J. P. Dutta's 1989 Hathyar were both well received by critics although both films only managed average collections at the box office. In the late 1980s he was seen in a number of multi-starrers alongside leading actors like Govinda, Mithun, Dharmendra, Jackie Shroff and Sunny Deol.
His successes continued in the 1990s, with films that include Tejaa, Khatarnaak, Zahreelay, Thanedaar, Khoon Ka Karz, Yalgaar, Gumrah, Sahibaan and Aatish: Feel the Fire. He went on to star in some of the most era-defining Indian films of the early 1990s such as Sadak, Saajan (for which he was nominated for the Filmfare Best Actor Award) and Khalnayak, for which he earned his second Filmfare Best Actor Award nomination.
The Hindu wrote that "Sanjay's earlier films (like Naam and Sadak) got him a lot of favourable attention." and "Saajan established Sanjay Dutt as the conventional soft hero."Saajan was the highest-grossing Bollywood film of 1991, and Sadak was the fifth highest grosser of 1991. Khalnayak became a blockbuster and was the second-highest grosser of 1993. This was followed by another box office success Gumrah, this was Dutt's second consecutive hit of the year.
Arrest due to involvement in 1993 serial bombings, films after arrest (1993 - 1999)
Bombay (now Mumbai) suffered a series of serial bombings in 1993. Dutt was among several people associated with Bollywood who were accused of involvement. It was alleged that Dutt accepted a delivery of weapons at his house from Abu Salem and co-accused Riyaz Siddiqui, who had also been implicated in relation to the Mumbai blasts. It was claimed that the weapons formed a part of a large consignment of arms connected to the terrorists. Dutt, however, in his confession stated that he took only one Type-56 from the producers of his movie Sanam, for his own family protection. It has also been reported that Sanjay Dutt's father Sunil Dutt's political rivalry caused Sanjay Dutt's conviction.. Dutt's first film after his 1993 arrest was Daud (1997). It did average business at the box office despite getting a lot of publicity. This was followed by Dushman which did well financially.
Comeback (1999 – 2003)
1999 was an excellent year for Dutt and one that is regarded as his comeback, with all of his five releases being amongst the highest-grossing films of that year. He began it by starring in the Mahesh Bhatt-directed film Kartoos, followed by Khoobsurat, Haseena Maan Jaayegi, Daag: The Fire and Vaastav: The Reality, for which he won many awards, including his first Filmfare Best Actor Award. His role in 2000's Mission Kashmir won him critical acclaim and a number of awards and nominations. Dutt was also invited by the President of India to Rashtrapati Bhavan for his performance in the movie.
Breakthrough with Munna Bhai M.B.B.S., prolonged success (2003 - present)
As the decade went on, he continued to play lead roles in popular and critical successes such as Jodi No.1 (2001), Pitaah (2002), Kaante (2002) and the National Award-winning film Munna Bhai M.B.B.S. (2003), which garnered him several awards. At the box office Munna Bhai M.B.B.S. achieved a silver jubilee status (25-week run) being one of only eight films to have achieved this status since the year 2000. In its 26th week of release, the film could still be found playing on 257 screens throughout India. Later successes came with Musafir (2004), Plan (2004), Parineeta (2005) and Dus (2005). He won critical acclaim for his performances in Shabd (2005) and Zinda.
The sequel of Munna Bhai M.B.B.S., Lage Raho Munna Bhai was released in late 2006. Dutt received a number of awards for his performance in the film, along with an award from the Prime Minister Manmohan Singh for his work in the Munna bhai series. NDTV India counted the character Munna Bhai as one of top 20 fictional characters in Bollywood. Later Dutt starred in movies like Dhamaal (2007), Shootout at Lokhandwala (2007), All the Best (2009), Double Dhamaal (2011), Son of Sardaar (2012) Agneepath (2012) and PK.
In January 2008, the Indian film Institute Filmfare listed 12 films featuring Dutt in its list of top 100 highest-grossing movies of all time. In its May 2013 edition "100 years of Indian cinema" Filmfare listed three films featuring Dutt in its top 20 list of highest-grossing Hindi films of all time, adjusted for inflation these films were Lage Raho Munna Bhai, Khalnayak and Saajan.
Vidhu Vinod Chopra on 29 September 2016 announced that the third part of Munna Bhai series, starring Dutt in the title role, would begin soon. In 2017, Dutt appeared as the lead in Bhoomi, directed by Omung Kumar. In 2018, he starred in Saheb, Biwi Aur Gangster 3. In 2018, it was also announced that Dutt would feature alongside Ranbir Kapoor and Vaani Kapoor in Shamshera, which will release on 31 July 2020. On 29 June 2018, his biopic Sanju released in which he made a special appearance. Dutt and Alia Bhatt are currently shooting for Sadak 2. In 2019, he joined the cast of historical film Bhuj: The Pride of India, which will feature an ensemble cast consisting of Ajay Devgn, Sonakshi Sinha and Parineeti Chopra. He was seen in the film Prassthanam on 20 September 2019.
Dutt is currently working as the main antagonist on K.G.F: Chapter 2, the sequel to the blockbuster Kannada film, K.G.F: Chapter 1, marking his debut in Kannada cinema. Sanjay Dutt will now appear in films like Shamshera, RRR and Prithviraj.
Off-screen work
Dutt co-hosted the fifth season of the Indian reality show Bigg Boss along with Salman Khan. The show aired on Colors television from 2 October 2011 to 7 January 2012. Dutt later said it was Khan who persuaded him to co-host the show. Dutt and entrepreneur Indian Premier League cricket team owner Raj Kundra together launched India's first professionally organised mixed martial arts league—the Super Fight League—on 16 January 2012.
Personal life and media image
In the early 1980s, Dutt had a relationship with his co-star from his first film, Tina Munim. After this relationship ended, Dutt married actress Richa Sharma in 1987. She died of a brain tumour in 1996. The couple have a daughter, Trishala Dutt, born in 1988, who lives in the United States with her maternal grandparents.
Dutt's second marriage was to air-hostess-turned-model Rhea Pillai in February 1998. The divorce finalised in 2008. Dutt married Manyata (born Dilnawaz Sheikh) first registered in Goa in 2008 and then, in a Hindu ceremony in Mumbai, after two years of dating. On 21 October 2010, he became a father to twins, a boy and a girl.
He is a devout Shaiva Hindu who has read holy scriptures and theological works.
Bombay (now Mumbai) suffered a series of serial bombings in 1993. Dutt was among several people associated with Bollywood who were accused of involvement. It was alleged that Dutt accepted a delivery of weapons at his house from Abu Salem and co-accused Riyaz Siddiqui, who had also been implicated in relation to the Mumbai blasts. It was claimed that the weapons formed a part of a large consignment of arms connected to the terrorists. Dutt, however, in his confession stated that he took only one Type-56 from the producers of his movie Sanam, for his own family protection. It has also been reported that Sanjay Dutt's father Sunil Dutt's political rivalry caused Sanjay Dutt's conviction.
In April 1993, after initial reporting by Baljeet Parmar on Dutt's possession of the AK-56, he was arrested under the provisions of the Terrorist and Disruptive Activities (Prevention) Act (TADA). Dutt was granted bail by the Supreme Court of India on 5 May 1993; however, on 4 July 1994 his bail was cancelled and he was re-arrested. On 16 October 1995 he was granted bail. Abdul Qayyum Abdul Karim Shaikh, who was thought to be a close aide of the terrorists' ringleader, Dawood Ibrahim, was arrested. Dutt had given Qayuum's name to the police when confessing to arms possession, saying that in September 1992 he had bought a pistol from Qayuum in Dubai. His arrest coincided with the release of his film, Khalnayak, in which he played a wanted criminal. The film's major success was in part due to Dutt's off-screen legal controversy.
On 31 July 2007, Dutt was cleared of the charges relating to the Mumbai blast; however, the TADA court sentenced Dutt to six years' rigorous imprisonment under Arms act for illegal possession of weapons. According to The Guardian, "The actor claimed he feared for his life after the notorious 'Black Friday' bombings, which were allegedly staged by Mumbai's Muslim-dominated mafia in retaliation for deadly Hindu-Muslim clashes a few months earlier. But the judge rejected this defence and also refused bail." Dutt was returned to at the Arthur Road Jail and soon after moved to the Yerawada Central Jail in Pune. Dutt appealed against the sentence and was granted interim bail on 20 August 2007 until such time as the TADA court provided him with a copy of its judgement. On 22 October 2007 Dutt was back in jail but again applied for bail. On 27 November 2007, Dutt was granted bail by the Supreme Court. On 21 March 2013 the Supreme Court upheld the verdict but shortened the sentence to five years' imprisonment. Dutt was given a month to surrender before the authorities.
Dutt has said that "I am not a politician but I belong to a political family." He was persuaded by a close friend to contest the 2009 Lok Sabha elections as a candidate for the Samajwadi Party, but withdrew when the court refused to suspend his conviction. He was then appointed General Secretary of the Samajwadi Party, leaving that post in December 2010. In March 2013 the Supreme Court upheld Dutt's five-year sentence, 18 months of which he already spent in jail during the trial. He was given four weeks to surrender to the authorities, the court having refused to release him on probation due to the severity of the offence.
On 10 May, the Supreme Court rejected Dutt's review petition for the reconsideration of his conviction and asked him to surrender on the stipulated date. on 14 May, Dutt withdrew the mercy plea and surrendered to the Mumbai Police on 16 May 2013. Just before the surrender, the Mumbai jail authority got an anonymous letter threatening Dutt's life. Dutt filed an appeal to allow him to surrender before entering Yerwada Central Jail. Later, Dutt withdrew this request too. He was paroled from 21 December 2013. The parole was extended three times until March 2014, raising concern in Bombay High Court and a proposal from the Government of Maharashtra to amend the law of parole. He returned to Yerwada Central Jail after his parole ended. Dutt was out on a two weeks' furlough granted by the Yerwada Central Jail authorities on 24 December. He was subsequently incarcerated in Yerwada Central Jail, to complete his jail term. He was released from there on 25 February 2016 after serving his sentence.
Health issues
Dutt was diagnosed with stage 3 lung cancer in August 2020. He did his treatment in Mumbai and now recovered from lung cancer.
In popular culture
The author Yasser Usman published a biographical book on Dutt, titled Sanjay Dutt: The Crazy Untold Story of Bollywood's Bad Boy, in 2018.
A film based on his life, Sanju, in which Ranbir Kapoor portrays the role of Dutt.
In 2021, Punjabi Singer from Brampton, Sidhu Moose Wala had also made a song Sanju, comparing his AK-47 possession and firing case with Sanjay Dutt.
Bibliography
References
External links
Male actors in Hindi cinema
Living people
1959 births
Filmfare Awards winners
Indian male child actors
Indian male singers
Lawrence School, Sanawar alumni
Politicians from Mumbai
Samajwadi Party politicians
Male actors from Mumbai
Film producers from Mumbai
Indian actor-politicians
Bigg Boss
Indian game show hosts
Punjabi people
20th-century Indian male actors
21st-century Indian male actors
Indian male comedians
Hindi film producers
Indian criminals
Indian Hindus | false | [
"Taaqatwar is a 1989 Indian Hindi-language action film directed by David Dhawan (in his directorial debut) and starring Sanjay Dutt, Govinda, Neelam Kothari and Anita Raj. It was a box office failure. Govinda worked with David Dhawan for the first time in Taaqatwar. He then formed a successful collaboration with David Dhawan and went on to act in 17 movies directed by him, most of which were comedy films and were successful. David Dhawan paired actor Sanjay Dutt and Govinda together for a further three successful films much later on in his career.\n\nCast\nSanjay Dutt as Police Inspector Amar Sharma \nGovinda as John D'Mello \nAnita Raj as Anju Khurana \nNeelam Kothari as John D' Mello's girlfriend\nParesh Rawal as Ganguram Tulsiram \nTanuja as Mrs. Sharma \nAnil Dhawan as Master Peter D'Mello \nAnupam Kher as Municipal Officer Vijay Sharma \nGulshan Grover as Khurana's son \nShakti Kapoor as Munjal Khurana\nVikas Anand as Lawyer\nBhagwan as A Guest in wedding (Cameo Role) \nGurbachan Singh as Sujit, Munjal Khurana Henchman\n\nSoundtrack\n\nExternal links \n \n\n1980s Hindi-language films\nIndian films\n1989 films\n1989 action films\nFilms directed by David Dhawan\nFilms scored by Anu Malik\nFictional portrayals of the Maharashtra Police\n1989 directorial debut films\nIndian action films\nHindi-language action films",
"Mahaanta ( Eminence) is a 1997 Hindi-language action film, produced by Ayub Khan under the Ayesha Film banner and directed by Afzal Khan. It stars Jeetendra, Sanjay Dutt, Madhuri Dixit, Shakti Kapoor and Danny Denzongpa and music composed by Laxmikant Pyarelal. Filming began in 1991 and was delayed for 6 years due to Dutt’s arrests in 1993 and Dutt and Dixit breaking up their relationship.\n\nPlot\nYoung Vijay studies in Good Shepherd High School and lives a wealthy lifestyle in a small scenic town along with his uncle, who is the Inspector General of Police in Bombay and has a close friend called Raj Malhotra. When both mature, Vijay gets married, while Raj marries Shanti. On his uncle's insistence, Vijay departs to live in Bombay, where he eventually becomes the Police Commissioner. Subsequently, Raj, Shanti, and Raj's brother, Sanjay, also re-locate to Bombay, where they are united with Vijay. Then Sanjay falls in love with Jenny and both want to get married, much to the chagrin of Mahesh, who wants to marry her at any and all costs. Mahesh is the only son of wealthy and influential Kedar, who manages to convince Edward that it will be in Jenny's and Sanjay's best interest if Jenny weds Mahesh. The marriage is arranged, but on that very day, Sanjay steps in, humiliates Kedar and marries Jenny. That night Sanjay is arrested by none other than Vijay himself and placed in a cell. The next morning he is released and returns home to find that his brother and sister-in-law are both dead. Sanjay swears to avenge their deaths as well as find out why Vijay betrayed Raj and arrested him on his wedding night.\n\nAfter learning that Kedarnath killed Sanjay's brother and sister-in-law, Sanjay confronts and challenges him that he will kill him in same place but will not remove evidence. Despite of Jenny and Vijay's attempt to stop him, he goes to kill Kedarnath, his son Mahesh, corrupt Inspector P.K. Dubey and his henchman Nanubhai Chatewala.\n\nSanjay chases and kills Mahesh in night of New Year Eve. Then chases Inspector Dubey in meat market then chops him and hang him to death by metal hook. Sanjay suddenly learns that Vijay actually put him into jail to save his life and realizes his mistake. He also learns that Kedarnath lured Vijay to get him killed on Ganesh Chaturthi festival so he reaches there and saves him. And he kills Nanunbhai on hand to hand combat.\n\nAfter killing 3 of them, Sanjay lures Kedarnath to his industry and tries to get him killed on same places and same way his brother and sister-in-law were killed, but police force lead by Vijay finally comes to stop him. Sanjay's surrender to comes to halt when unconscious Kedarnath wakes up and tries to shoot Sanjay but Vijay gets shot when he saved him and Sanjay shoots Kedarnath to death. After Vijay gets recovered, he and Sanjay gets emotionally united.\n\nCast\n Jeetendra as Police Commissioner Vijay Kapoor \n Sanjay Dutt as Sanjay Malhotra\n Madhuri Dixit as Jenny Malhotra \n Mohsin Khan as Raj Malhotra \n Poonam Dhillon as Vijay's wife \n Saeed Jaffrey as Inspector General of Police \n Satyendra Kapoor as Edward Pinto \n Shakti Kapoor as Inspector P.K. Dubey \n Raza Murad as The Narrator \n Amrish Puri as Seth. Kedar Nath \n Paresh Rawal as Nanubhai Chathewala \n Sumalatha as Shanti Malhotra \n Kishore Anand Bhanushali as Sanjay's friend \n Tej Sapru as Mahesh Nath \n Snehal Dabi as Sanjay's friend \n Brij Gopal as Kelkar (Informer) \n Shashi Kiran as Sanjay's friend \n Mehmood Jr. as Sanjay's friend \n Tariq Shah as Inspector Aslam Sher Khan \n Gurbachchan Singh as Ujagar\n\nSoundtrack\nMusic by: Laxmikant-Pyarelal & Lyricist: Anand Bakshi\n\nExternal links \n \n\n1997 films\nIndian films\n1990s Hindi-language films\nFilms scored by Laxmikant–Pyarelal\n1990s action drama films\nIndian action drama films\nIndian films about revenge\n1990s masala films"
]
|
[
"Sanjay Dutt",
"2007-2009",
"Did Sanjay Dutt star in any major films in 2007?",
"I don't know.",
"Did Sanjay Dutt act in any films between 2007 and 2009?",
"I don't know."
]
| C_656b9bc145184e728cf2fcded320f03f_0 | What did Sanjay Dutt do between 2007 and 2009? | 3 | What did Sanjay Dutt do between 2007 and 2009? | Sanjay Dutt | Abdul Qayyum Abdul Karim Shaikh, who was thought to be a close aide of the terrorists' ringleader, Dawood Ibrahim, was arrested. Dutt had given Qayuum's name to the police when confessing to arms possession, saying that in September 1992 he had bought a pistol from Qayuum in Dubai. On 31 July 2007, the TADA court sentenced Dutt to six years' rigorous imprisonment for illegal possession of weapons and cleared him of charges relating to the Mumbai blasts. According to The Guardian, "The actor claimed he feared for his life after the notorious "Black Friday" bombings, which were allegedly staged by Mumbai's Muslim-dominated mafia in retaliation for deadly Hindu-Muslim clashes a few months earlier. But the judge rejected this defence and also refused bail." Dutt was returned to jail at Arthur Road and soon after moved to the Yerwada Central Jail in Pune. Dutt appealed against the sentence and was granted interim bail on 20 August 2007 until such time as the TADA court provided him with a copy of its judgement. On 22 October 2007 Dutt was back in jail but again applied for bail. On 27 November 2007, Dutt was granted bail by the Supreme Court. On 21 March 2013 the Supreme Court upheld the verdict of the TADA court but shortened the sentence to five years' imprisonment. Dutt was given a month to surrender before the authorities. Dutt has said that "I am not a politician but I belong to a political family." He was persuaded by a close friend to contest the 2009 Lok Sabha elections as a candidate for the Samajwadi Party but withdrew when the court refused to suspend his conviction. He was then appointed General Secretary of the party, leaving that post in December 2010. CANNOTANSWER | On 31 July 2007, the TADA court sentenced Dutt to six years' rigorous imprisonment for illegal possession of weapons | Sanjay Balraj Dutt (born 29 July 1959) is an Indian actor who works in Hindi films. He is the recipient of several awards, including two Filmfare Awards and three Screen Awards. Dutt acted in 187 films, ranging from romance to comedy genres, but is usually typecast in action genres, and established himself as one of the most popular Hindi film actors of the later 1980s, 1990s, 2000s, and 2010s.
The son of actors Sunil Dutt and Nargis, Dutt made his acting debut in Rocky (1981), which was directed by his father. The crime thriller Naam (1985) proved to be a turning point in his career, which was followed by a series of commercially successful films in that decade, including Jeete Hain Shaan Se (1988), Mardon Wali Baat (1988), Ilaaka (1989), Hum Bhi Insaan Hain (1989) and Kanoon Apna Apna (1989). He earned nominations for the Filmfare Award for Best Actor for Saajan (1991) and Khalnayak (1993). Dutt earned his first Best Actor at the ceremony for playing a common man-turned-gangster in Vaastav: The Reality (1999). Along with Vaastav: The Reality, he also won accolades for playing an army officer in Mission Kashmir (2001), a soft-hearted goofy gangster in Munna Bhai M.B.B.S. (2003) and its sequel Lage Raho Munna Bhai (2006).
Dutt was arrested under the TADA and the Arms Act in April 1993 and was convicted for violation of Arms Act for possession of illegal weapons procured from other accused in the 1993 Bombay bombings. After serving his sentence, he was released in 2016. Dutt's life receives considerable media coverage in India, and in 2018, Sanju, a biopic based on his life (which also saw a special appearance by him), was released to positive reviews and emerged as one of the highest-grossers of Indian cinema.
Early life
Dutt was born on 29th July, 1959 in Bombay to noted cinema actors Sunil Dutt and Nargis. He has two sisters, Priya Dutt and Namrata Dutt. Sanjay's name was chosen by crowdsourcing via the Urdu language film magazine Shama. His mother died in 1981, shortly before his debut film's premiere; her death is cited as the instigator of his drug abuse. As a child actor, Dutt appeared briefly as a qawali singer in the 1972 film Reshma Aur Shera, which starred his father.
Career
Early career and breakthrough (1981–1993)
Dutt made his Bollywood movie debut with the box-office super hit Rocky in 1981. Dutt then went on to star in Vidhaata, the highest-grossing Hindi film of 1982, along with film veterans Dilip Kumar, Shammi Kapoor and Sanjeev Kumar. He also starred in movies like Main Awara Hoon (1983). In 1985 he shot Jaan Ki Baazi, his first film in two years.
The 1986 film Naam was a turning point in Dutt's career, it was a major commercial and critical success. Dutt appeared in successful films throughout the '80s such as Imaandaar, Inaam Dus Hazaar, Jeete Hain Shaan Se (1988), Mardon Wali Baat (1988), Ilaaka (1989), Hum Bhi Insaan Hain (1989), Kanoon Apna Apna (1989) and Taaqatwar.
His performances in both Kabzaa (1988) and J. P. Dutta's 1989 Hathyar were both well received by critics although both films only managed average collections at the box office. In the late 1980s he was seen in a number of multi-starrers alongside leading actors like Govinda, Mithun, Dharmendra, Jackie Shroff and Sunny Deol.
His successes continued in the 1990s, with films that include Tejaa, Khatarnaak, Zahreelay, Thanedaar, Khoon Ka Karz, Yalgaar, Gumrah, Sahibaan and Aatish: Feel the Fire. He went on to star in some of the most era-defining Indian films of the early 1990s such as Sadak, Saajan (for which he was nominated for the Filmfare Best Actor Award) and Khalnayak, for which he earned his second Filmfare Best Actor Award nomination.
The Hindu wrote that "Sanjay's earlier films (like Naam and Sadak) got him a lot of favourable attention." and "Saajan established Sanjay Dutt as the conventional soft hero."Saajan was the highest-grossing Bollywood film of 1991, and Sadak was the fifth highest grosser of 1991. Khalnayak became a blockbuster and was the second-highest grosser of 1993. This was followed by another box office success Gumrah, this was Dutt's second consecutive hit of the year.
Arrest due to involvement in 1993 serial bombings, films after arrest (1993 - 1999)
Bombay (now Mumbai) suffered a series of serial bombings in 1993. Dutt was among several people associated with Bollywood who were accused of involvement. It was alleged that Dutt accepted a delivery of weapons at his house from Abu Salem and co-accused Riyaz Siddiqui, who had also been implicated in relation to the Mumbai blasts. It was claimed that the weapons formed a part of a large consignment of arms connected to the terrorists. Dutt, however, in his confession stated that he took only one Type-56 from the producers of his movie Sanam, for his own family protection. It has also been reported that Sanjay Dutt's father Sunil Dutt's political rivalry caused Sanjay Dutt's conviction.. Dutt's first film after his 1993 arrest was Daud (1997). It did average business at the box office despite getting a lot of publicity. This was followed by Dushman which did well financially.
Comeback (1999 – 2003)
1999 was an excellent year for Dutt and one that is regarded as his comeback, with all of his five releases being amongst the highest-grossing films of that year. He began it by starring in the Mahesh Bhatt-directed film Kartoos, followed by Khoobsurat, Haseena Maan Jaayegi, Daag: The Fire and Vaastav: The Reality, for which he won many awards, including his first Filmfare Best Actor Award. His role in 2000's Mission Kashmir won him critical acclaim and a number of awards and nominations. Dutt was also invited by the President of India to Rashtrapati Bhavan for his performance in the movie.
Breakthrough with Munna Bhai M.B.B.S., prolonged success (2003 - present)
As the decade went on, he continued to play lead roles in popular and critical successes such as Jodi No.1 (2001), Pitaah (2002), Kaante (2002) and the National Award-winning film Munna Bhai M.B.B.S. (2003), which garnered him several awards. At the box office Munna Bhai M.B.B.S. achieved a silver jubilee status (25-week run) being one of only eight films to have achieved this status since the year 2000. In its 26th week of release, the film could still be found playing on 257 screens throughout India. Later successes came with Musafir (2004), Plan (2004), Parineeta (2005) and Dus (2005). He won critical acclaim for his performances in Shabd (2005) and Zinda.
The sequel of Munna Bhai M.B.B.S., Lage Raho Munna Bhai was released in late 2006. Dutt received a number of awards for his performance in the film, along with an award from the Prime Minister Manmohan Singh for his work in the Munna bhai series. NDTV India counted the character Munna Bhai as one of top 20 fictional characters in Bollywood. Later Dutt starred in movies like Dhamaal (2007), Shootout at Lokhandwala (2007), All the Best (2009), Double Dhamaal (2011), Son of Sardaar (2012) Agneepath (2012) and PK.
In January 2008, the Indian film Institute Filmfare listed 12 films featuring Dutt in its list of top 100 highest-grossing movies of all time. In its May 2013 edition "100 years of Indian cinema" Filmfare listed three films featuring Dutt in its top 20 list of highest-grossing Hindi films of all time, adjusted for inflation these films were Lage Raho Munna Bhai, Khalnayak and Saajan.
Vidhu Vinod Chopra on 29 September 2016 announced that the third part of Munna Bhai series, starring Dutt in the title role, would begin soon. In 2017, Dutt appeared as the lead in Bhoomi, directed by Omung Kumar. In 2018, he starred in Saheb, Biwi Aur Gangster 3. In 2018, it was also announced that Dutt would feature alongside Ranbir Kapoor and Vaani Kapoor in Shamshera, which will release on 31 July 2020. On 29 June 2018, his biopic Sanju released in which he made a special appearance. Dutt and Alia Bhatt are currently shooting for Sadak 2. In 2019, he joined the cast of historical film Bhuj: The Pride of India, which will feature an ensemble cast consisting of Ajay Devgn, Sonakshi Sinha and Parineeti Chopra. He was seen in the film Prassthanam on 20 September 2019.
Dutt is currently working as the main antagonist on K.G.F: Chapter 2, the sequel to the blockbuster Kannada film, K.G.F: Chapter 1, marking his debut in Kannada cinema. Sanjay Dutt will now appear in films like Shamshera, RRR and Prithviraj.
Off-screen work
Dutt co-hosted the fifth season of the Indian reality show Bigg Boss along with Salman Khan. The show aired on Colors television from 2 October 2011 to 7 January 2012. Dutt later said it was Khan who persuaded him to co-host the show. Dutt and entrepreneur Indian Premier League cricket team owner Raj Kundra together launched India's first professionally organised mixed martial arts league—the Super Fight League—on 16 January 2012.
Personal life and media image
In the early 1980s, Dutt had a relationship with his co-star from his first film, Tina Munim. After this relationship ended, Dutt married actress Richa Sharma in 1987. She died of a brain tumour in 1996. The couple have a daughter, Trishala Dutt, born in 1988, who lives in the United States with her maternal grandparents.
Dutt's second marriage was to air-hostess-turned-model Rhea Pillai in February 1998. The divorce finalised in 2008. Dutt married Manyata (born Dilnawaz Sheikh) first registered in Goa in 2008 and then, in a Hindu ceremony in Mumbai, after two years of dating. On 21 October 2010, he became a father to twins, a boy and a girl.
He is a devout Shaiva Hindu who has read holy scriptures and theological works.
Bombay (now Mumbai) suffered a series of serial bombings in 1993. Dutt was among several people associated with Bollywood who were accused of involvement. It was alleged that Dutt accepted a delivery of weapons at his house from Abu Salem and co-accused Riyaz Siddiqui, who had also been implicated in relation to the Mumbai blasts. It was claimed that the weapons formed a part of a large consignment of arms connected to the terrorists. Dutt, however, in his confession stated that he took only one Type-56 from the producers of his movie Sanam, for his own family protection. It has also been reported that Sanjay Dutt's father Sunil Dutt's political rivalry caused Sanjay Dutt's conviction.
In April 1993, after initial reporting by Baljeet Parmar on Dutt's possession of the AK-56, he was arrested under the provisions of the Terrorist and Disruptive Activities (Prevention) Act (TADA). Dutt was granted bail by the Supreme Court of India on 5 May 1993; however, on 4 July 1994 his bail was cancelled and he was re-arrested. On 16 October 1995 he was granted bail. Abdul Qayyum Abdul Karim Shaikh, who was thought to be a close aide of the terrorists' ringleader, Dawood Ibrahim, was arrested. Dutt had given Qayuum's name to the police when confessing to arms possession, saying that in September 1992 he had bought a pistol from Qayuum in Dubai. His arrest coincided with the release of his film, Khalnayak, in which he played a wanted criminal. The film's major success was in part due to Dutt's off-screen legal controversy.
On 31 July 2007, Dutt was cleared of the charges relating to the Mumbai blast; however, the TADA court sentenced Dutt to six years' rigorous imprisonment under Arms act for illegal possession of weapons. According to The Guardian, "The actor claimed he feared for his life after the notorious 'Black Friday' bombings, which were allegedly staged by Mumbai's Muslim-dominated mafia in retaliation for deadly Hindu-Muslim clashes a few months earlier. But the judge rejected this defence and also refused bail." Dutt was returned to at the Arthur Road Jail and soon after moved to the Yerawada Central Jail in Pune. Dutt appealed against the sentence and was granted interim bail on 20 August 2007 until such time as the TADA court provided him with a copy of its judgement. On 22 October 2007 Dutt was back in jail but again applied for bail. On 27 November 2007, Dutt was granted bail by the Supreme Court. On 21 March 2013 the Supreme Court upheld the verdict but shortened the sentence to five years' imprisonment. Dutt was given a month to surrender before the authorities.
Dutt has said that "I am not a politician but I belong to a political family." He was persuaded by a close friend to contest the 2009 Lok Sabha elections as a candidate for the Samajwadi Party, but withdrew when the court refused to suspend his conviction. He was then appointed General Secretary of the Samajwadi Party, leaving that post in December 2010. In March 2013 the Supreme Court upheld Dutt's five-year sentence, 18 months of which he already spent in jail during the trial. He was given four weeks to surrender to the authorities, the court having refused to release him on probation due to the severity of the offence.
On 10 May, the Supreme Court rejected Dutt's review petition for the reconsideration of his conviction and asked him to surrender on the stipulated date. on 14 May, Dutt withdrew the mercy plea and surrendered to the Mumbai Police on 16 May 2013. Just before the surrender, the Mumbai jail authority got an anonymous letter threatening Dutt's life. Dutt filed an appeal to allow him to surrender before entering Yerwada Central Jail. Later, Dutt withdrew this request too. He was paroled from 21 December 2013. The parole was extended three times until March 2014, raising concern in Bombay High Court and a proposal from the Government of Maharashtra to amend the law of parole. He returned to Yerwada Central Jail after his parole ended. Dutt was out on a two weeks' furlough granted by the Yerwada Central Jail authorities on 24 December. He was subsequently incarcerated in Yerwada Central Jail, to complete his jail term. He was released from there on 25 February 2016 after serving his sentence.
Health issues
Dutt was diagnosed with stage 3 lung cancer in August 2020. He did his treatment in Mumbai and now recovered from lung cancer.
In popular culture
The author Yasser Usman published a biographical book on Dutt, titled Sanjay Dutt: The Crazy Untold Story of Bollywood's Bad Boy, in 2018.
A film based on his life, Sanju, in which Ranbir Kapoor portrays the role of Dutt.
In 2021, Punjabi Singer from Brampton, Sidhu Moose Wala had also made a song Sanju, comparing his AK-47 possession and firing case with Sanjay Dutt.
Bibliography
References
External links
Male actors in Hindi cinema
Living people
1959 births
Filmfare Awards winners
Indian male child actors
Indian male singers
Lawrence School, Sanawar alumni
Politicians from Mumbai
Samajwadi Party politicians
Male actors from Mumbai
Film producers from Mumbai
Indian actor-politicians
Bigg Boss
Indian game show hosts
Punjabi people
20th-century Indian male actors
21st-century Indian male actors
Indian male comedians
Hindi film producers
Indian criminals
Indian Hindus | false | [
"Do Dilon Ki Dastaan () is a 1985 Indian Bollywood romance film directed by A. C. Tirulokchandar. It stars Sanjay Dutt and Padmini Kolhapure in pivotal roles.\n\nCast\n Sanjay Dutt as Vijay Kumar Saxena\n Padmini Kolhapure as Sona Mathur\n Kajal Kiran as Aarti Verma\n Shakti Kapoor as Shekhar\n Om Prakash as Mr. Saxena\n Arun Govil as Kamal\n\nSoundtrack\n\nExternal links\n\n1980s Hindi-language films\nHindi-language films\n1985 films\nIndian films\nFilms directed by A. C. Tirulokchandar\nFilms scored by Laxmikant–Pyarelal",
"Sanjay Dutt: The Crazy Untold Story of Bollywood's Bad Boy is a biography by Yasser Usman, detailing the life and career of the Indian film actor Sanjay Dutt. It chronicles his birth to actors Sunil Dutt and Nargis, his relationship with the actress Madhuri Dixit, covered extensively in the media at the time, being jailed because of his involvement in the Bombay riots, and his 47-year film career. The book was released on 13 March 2018 by Juggernaut Books and praised by critics.\n\nUsman began writing the book in 2017 after meeting Dutt to talk about the latter's life and career. He spent eighteen months interviewing people who were close to him, including several of his school friends and teachers at The Lawrence School, Sanawar, police officers and co-inmates when he was jailed, as well as politicians, filmmakers, and co-stars. He also watched all of Dutt's films, and collected books, magazines, journals and interviews with him.\n\nSummary \nThe book opens with Sanjay Dutt winning an air guitar contest in 1982. Usman then examines Dutt's involvement in the Bombay riots, which occurred 11 years later and his imprisonment afterward. It follows with the story of his birth in 1959 to Indian actors Sunil and Nargis who used crowdsourcing conducted by the Urdu magazine Shama to choose his name. His career, including his first film Rocky (1981), which was a box office success but received poor critical reviews, and the thriller Naam (1986), the film that became the turning point of his career are examined. The book also details several commercially and critically successful films with his co-star Madhuri Dixit (with whom Dutt had a relationship that ended after he was jailed). These include Saajan (1991) and Khal Nayak (1993), both of which earned him nominations for the Filmfare Award for Best Actor. Usman also discusses Dutt's marriages to Richa Sharma between 1987 and 1996, Rhea Pillai in between 1998 and 2008 and Manyata Dutt in 2008.\n\nDevelopment and writing \n\nContinuing his \"untold\" trilogy, Yasser Usman's Sanjay Dutt: The Crazy Untold Story of Bollywood's Bad Boy is his third biography following Rajesh Khanna: The Untold Story of India's First Superstar and Rekha: The Untold Story (2016). He revealed he was motivated to write it because his father is a big fan of Dutt, adding, \"... every time the Dutt[s] passed through a frightening tragedy, it was Sunil Dutt who we empathised with\". Usman describes Dutt's life as \"spectacular\", and observes that his \"attempt to document this story—the good, the bad and ... the disastrously absurd—is a journalistic one, complete with the conflicts, the mistakes, the many heart-breaking tragedies, and the overwhelming triumphs\". According to The Indian Express, the main theme of the book was based on Ivan Turgenev's 1862 novel Fathers and Sons.\n\nUsman began writing Sanjay Dutt: The Crazy Untold Story of Bollywood's Bad Boy in 2017. He met Dutt one evening to ask him about his life and career, \"When you look back upon your life, what is it that would like to change?\", according to the book's foreword. Dutt, however, immediately refused to answer his question. Usman interviewed many people close to Dutt, including his school friends and teachers at The Lawrence School, Sanawar, police officers and co-inmates when he was jailed, politicians, filmmakers and co-stars.:ix–x Although most of them did not want to talk about him, several others agreed to be interviewed, including a restaurant waiter from Goa who had worked as Dutt's hairstylist in Khal Nayak (1993).:x–xi Continuing his research, Usman watched all of Dutt's films, and collected books, magazines journals, and interviews with him.\n\nUsman felt that Dutt's life has \"a film-like quality\",:xv describing the book's story as being \"about [his] father who refused to give up on his son, and a son who refused to grow up\". He confessed that the audience's perception of Dutt after he was jailed in 1993 dismayed him and felt the prison sentence \"over-defined him\". Writing for The Asian Age, Usman said the research for the book was \"extremely long\" and \"tedious, because there is no one-point reference source\". Beside that, he added, \"It is the story of a family of film stars that is sometimes difficult to comprehend with such moments of insanity that are often stranger than any fiction.\"\n\nRelease and reception \nThe book was published on 13 March 2018 as a hardcover by Juggernaut Books. The release, however, became controversial after Dutt decried the book being published. He sent a legal notice to the publisher saying he had not authorized the biography adding, \"from the excerpts that are appearing in the newspaper are partly based on my old interviews, but rest all seemed to be based on hearsay, 1990s' tabloids and gossip magazines, most of which are figments of imagination and not true\". In response, Juggernaut Books stated that the book was \"painstakingly footnoted, and the sources the book has relied upon have clearly been mentioned\". They added, \"To pay respect to Mr. Dutt's wishes, we won't put out any more extracts from the book in short-form media.\" A second hardcover printing was released on 31 March, and its paperback and Amazon Kindle editions followed on 20 September 2019 and 1 June 2020, respectively.\n\nCritics wrote mostly positive reviews of Sanjay Dutt: The Crazy Untold Story of Bollywood's Bad Boy. The Times of India said that the book was \"a meticulously researched testament to a Bollywood star's life and times and exhibits some unknown and shocking anecdotes\". Aaqib Raza Khan, from the same publication, spoke of how Usman \"has crafted a seemingly transparent profile\" of Dutt, adding, \"[...] the book reads seamlessly with no personal tilt apparent\". Daily News and Analysis reviewer Pooja Bhula noted that \"Usman peppers the book with enough anecdotes, or perhaps scoops, to keep people reading\". Joginder Tuteja of Bollywood Hungama, who gave it a rating of two-and-a-half stars, observed, \"Nonetheless, the good part is that the book makes for a quick-fire read and hence you can wrap it up in a couple of hours.\" He described the book as \"a very-easy read\", saying, \"The build-up is fine, the setup is good, the situations are reasonably well explained, the narrative is intact and certain moments hold your attention well too.\"\n\nRohini Nair, writing for the Firstpost website, felt the book \"covers pretty comprehensively the transformation\" of Dutt. In a review published by the Indo-Asian News Service, the critic Radhika Bhirani wrote that the biography is a \"compelling narrative\". Writing for Business Standard, Uttaran Das Gupta elaborated, \"What emerges from this narrative, however, is not merely a morality tale about a spoilt star-kid gone wrong and his reformation, but also a history of the changing landscape of Bollywood as well as political and social life in India.\" Sanjukta Sharma of Mint noted that \"it is impossible to write a biography of Bollywood figures impartially\". She was appreciative of Usman for taking \"the next best way out\" and letting \"the ugly speak for itself\". Aprita Das of Film Companion and The Times of India subsequently included the book in their listings of \"Top 7 Books on Cinema in 2018\" and \"12 Most Amazing Indian Non-fiction Reads of 2018\", respectively.\n\nPublication history\n\nReferences\n\nExternal links \n\n Yasser Usman's official website\n Sanjay Dutt: The Crazy Untold Story of Bollywood's Bad Boy on Google Books\n\n2018 non-fiction books\nBiographies about actors\nIndian biographies\nIndian non-fiction books\nJuggernaut Books books"
]
|
[
"Sanjay Dutt",
"2007-2009",
"Did Sanjay Dutt star in any major films in 2007?",
"I don't know.",
"Did Sanjay Dutt act in any films between 2007 and 2009?",
"I don't know.",
"What did Sanjay Dutt do between 2007 and 2009?",
"On 31 July 2007, the TADA court sentenced Dutt to six years' rigorous imprisonment for illegal possession of weapons"
]
| C_656b9bc145184e728cf2fcded320f03f_0 | Did he serve his entire sentence? | 4 | Did Sanjay Dutt serve his entire sentence after 31 July 2007? | Sanjay Dutt | Abdul Qayyum Abdul Karim Shaikh, who was thought to be a close aide of the terrorists' ringleader, Dawood Ibrahim, was arrested. Dutt had given Qayuum's name to the police when confessing to arms possession, saying that in September 1992 he had bought a pistol from Qayuum in Dubai. On 31 July 2007, the TADA court sentenced Dutt to six years' rigorous imprisonment for illegal possession of weapons and cleared him of charges relating to the Mumbai blasts. According to The Guardian, "The actor claimed he feared for his life after the notorious "Black Friday" bombings, which were allegedly staged by Mumbai's Muslim-dominated mafia in retaliation for deadly Hindu-Muslim clashes a few months earlier. But the judge rejected this defence and also refused bail." Dutt was returned to jail at Arthur Road and soon after moved to the Yerwada Central Jail in Pune. Dutt appealed against the sentence and was granted interim bail on 20 August 2007 until such time as the TADA court provided him with a copy of its judgement. On 22 October 2007 Dutt was back in jail but again applied for bail. On 27 November 2007, Dutt was granted bail by the Supreme Court. On 21 March 2013 the Supreme Court upheld the verdict of the TADA court but shortened the sentence to five years' imprisonment. Dutt was given a month to surrender before the authorities. Dutt has said that "I am not a politician but I belong to a political family." He was persuaded by a close friend to contest the 2009 Lok Sabha elections as a candidate for the Samajwadi Party but withdrew when the court refused to suspend his conviction. He was then appointed General Secretary of the party, leaving that post in December 2010. CANNOTANSWER | Dutt appealed against the sentence and was granted interim bail on 20 August 2007 | Sanjay Balraj Dutt (born 29 July 1959) is an Indian actor who works in Hindi films. He is the recipient of several awards, including two Filmfare Awards and three Screen Awards. Dutt acted in 187 films, ranging from romance to comedy genres, but is usually typecast in action genres, and established himself as one of the most popular Hindi film actors of the later 1980s, 1990s, 2000s, and 2010s.
The son of actors Sunil Dutt and Nargis, Dutt made his acting debut in Rocky (1981), which was directed by his father. The crime thriller Naam (1985) proved to be a turning point in his career, which was followed by a series of commercially successful films in that decade, including Jeete Hain Shaan Se (1988), Mardon Wali Baat (1988), Ilaaka (1989), Hum Bhi Insaan Hain (1989) and Kanoon Apna Apna (1989). He earned nominations for the Filmfare Award for Best Actor for Saajan (1991) and Khalnayak (1993). Dutt earned his first Best Actor at the ceremony for playing a common man-turned-gangster in Vaastav: The Reality (1999). Along with Vaastav: The Reality, he also won accolades for playing an army officer in Mission Kashmir (2001), a soft-hearted goofy gangster in Munna Bhai M.B.B.S. (2003) and its sequel Lage Raho Munna Bhai (2006).
Dutt was arrested under the TADA and the Arms Act in April 1993 and was convicted for violation of Arms Act for possession of illegal weapons procured from other accused in the 1993 Bombay bombings. After serving his sentence, he was released in 2016. Dutt's life receives considerable media coverage in India, and in 2018, Sanju, a biopic based on his life (which also saw a special appearance by him), was released to positive reviews and emerged as one of the highest-grossers of Indian cinema.
Early life
Dutt was born on 29th July, 1959 in Bombay to noted cinema actors Sunil Dutt and Nargis. He has two sisters, Priya Dutt and Namrata Dutt. Sanjay's name was chosen by crowdsourcing via the Urdu language film magazine Shama. His mother died in 1981, shortly before his debut film's premiere; her death is cited as the instigator of his drug abuse. As a child actor, Dutt appeared briefly as a qawali singer in the 1972 film Reshma Aur Shera, which starred his father.
Career
Early career and breakthrough (1981–1993)
Dutt made his Bollywood movie debut with the box-office super hit Rocky in 1981. Dutt then went on to star in Vidhaata, the highest-grossing Hindi film of 1982, along with film veterans Dilip Kumar, Shammi Kapoor and Sanjeev Kumar. He also starred in movies like Main Awara Hoon (1983). In 1985 he shot Jaan Ki Baazi, his first film in two years.
The 1986 film Naam was a turning point in Dutt's career, it was a major commercial and critical success. Dutt appeared in successful films throughout the '80s such as Imaandaar, Inaam Dus Hazaar, Jeete Hain Shaan Se (1988), Mardon Wali Baat (1988), Ilaaka (1989), Hum Bhi Insaan Hain (1989), Kanoon Apna Apna (1989) and Taaqatwar.
His performances in both Kabzaa (1988) and J. P. Dutta's 1989 Hathyar were both well received by critics although both films only managed average collections at the box office. In the late 1980s he was seen in a number of multi-starrers alongside leading actors like Govinda, Mithun, Dharmendra, Jackie Shroff and Sunny Deol.
His successes continued in the 1990s, with films that include Tejaa, Khatarnaak, Zahreelay, Thanedaar, Khoon Ka Karz, Yalgaar, Gumrah, Sahibaan and Aatish: Feel the Fire. He went on to star in some of the most era-defining Indian films of the early 1990s such as Sadak, Saajan (for which he was nominated for the Filmfare Best Actor Award) and Khalnayak, for which he earned his second Filmfare Best Actor Award nomination.
The Hindu wrote that "Sanjay's earlier films (like Naam and Sadak) got him a lot of favourable attention." and "Saajan established Sanjay Dutt as the conventional soft hero."Saajan was the highest-grossing Bollywood film of 1991, and Sadak was the fifth highest grosser of 1991. Khalnayak became a blockbuster and was the second-highest grosser of 1993. This was followed by another box office success Gumrah, this was Dutt's second consecutive hit of the year.
Arrest due to involvement in 1993 serial bombings, films after arrest (1993 - 1999)
Bombay (now Mumbai) suffered a series of serial bombings in 1993. Dutt was among several people associated with Bollywood who were accused of involvement. It was alleged that Dutt accepted a delivery of weapons at his house from Abu Salem and co-accused Riyaz Siddiqui, who had also been implicated in relation to the Mumbai blasts. It was claimed that the weapons formed a part of a large consignment of arms connected to the terrorists. Dutt, however, in his confession stated that he took only one Type-56 from the producers of his movie Sanam, for his own family protection. It has also been reported that Sanjay Dutt's father Sunil Dutt's political rivalry caused Sanjay Dutt's conviction.. Dutt's first film after his 1993 arrest was Daud (1997). It did average business at the box office despite getting a lot of publicity. This was followed by Dushman which did well financially.
Comeback (1999 – 2003)
1999 was an excellent year for Dutt and one that is regarded as his comeback, with all of his five releases being amongst the highest-grossing films of that year. He began it by starring in the Mahesh Bhatt-directed film Kartoos, followed by Khoobsurat, Haseena Maan Jaayegi, Daag: The Fire and Vaastav: The Reality, for which he won many awards, including his first Filmfare Best Actor Award. His role in 2000's Mission Kashmir won him critical acclaim and a number of awards and nominations. Dutt was also invited by the President of India to Rashtrapati Bhavan for his performance in the movie.
Breakthrough with Munna Bhai M.B.B.S., prolonged success (2003 - present)
As the decade went on, he continued to play lead roles in popular and critical successes such as Jodi No.1 (2001), Pitaah (2002), Kaante (2002) and the National Award-winning film Munna Bhai M.B.B.S. (2003), which garnered him several awards. At the box office Munna Bhai M.B.B.S. achieved a silver jubilee status (25-week run) being one of only eight films to have achieved this status since the year 2000. In its 26th week of release, the film could still be found playing on 257 screens throughout India. Later successes came with Musafir (2004), Plan (2004), Parineeta (2005) and Dus (2005). He won critical acclaim for his performances in Shabd (2005) and Zinda.
The sequel of Munna Bhai M.B.B.S., Lage Raho Munna Bhai was released in late 2006. Dutt received a number of awards for his performance in the film, along with an award from the Prime Minister Manmohan Singh for his work in the Munna bhai series. NDTV India counted the character Munna Bhai as one of top 20 fictional characters in Bollywood. Later Dutt starred in movies like Dhamaal (2007), Shootout at Lokhandwala (2007), All the Best (2009), Double Dhamaal (2011), Son of Sardaar (2012) Agneepath (2012) and PK.
In January 2008, the Indian film Institute Filmfare listed 12 films featuring Dutt in its list of top 100 highest-grossing movies of all time. In its May 2013 edition "100 years of Indian cinema" Filmfare listed three films featuring Dutt in its top 20 list of highest-grossing Hindi films of all time, adjusted for inflation these films were Lage Raho Munna Bhai, Khalnayak and Saajan.
Vidhu Vinod Chopra on 29 September 2016 announced that the third part of Munna Bhai series, starring Dutt in the title role, would begin soon. In 2017, Dutt appeared as the lead in Bhoomi, directed by Omung Kumar. In 2018, he starred in Saheb, Biwi Aur Gangster 3. In 2018, it was also announced that Dutt would feature alongside Ranbir Kapoor and Vaani Kapoor in Shamshera, which will release on 31 July 2020. On 29 June 2018, his biopic Sanju released in which he made a special appearance. Dutt and Alia Bhatt are currently shooting for Sadak 2. In 2019, he joined the cast of historical film Bhuj: The Pride of India, which will feature an ensemble cast consisting of Ajay Devgn, Sonakshi Sinha and Parineeti Chopra. He was seen in the film Prassthanam on 20 September 2019.
Dutt is currently working as the main antagonist on K.G.F: Chapter 2, the sequel to the blockbuster Kannada film, K.G.F: Chapter 1, marking his debut in Kannada cinema. Sanjay Dutt will now appear in films like Shamshera, RRR and Prithviraj.
Off-screen work
Dutt co-hosted the fifth season of the Indian reality show Bigg Boss along with Salman Khan. The show aired on Colors television from 2 October 2011 to 7 January 2012. Dutt later said it was Khan who persuaded him to co-host the show. Dutt and entrepreneur Indian Premier League cricket team owner Raj Kundra together launched India's first professionally organised mixed martial arts league—the Super Fight League—on 16 January 2012.
Personal life and media image
In the early 1980s, Dutt had a relationship with his co-star from his first film, Tina Munim. After this relationship ended, Dutt married actress Richa Sharma in 1987. She died of a brain tumour in 1996. The couple have a daughter, Trishala Dutt, born in 1988, who lives in the United States with her maternal grandparents.
Dutt's second marriage was to air-hostess-turned-model Rhea Pillai in February 1998. The divorce finalised in 2008. Dutt married Manyata (born Dilnawaz Sheikh) first registered in Goa in 2008 and then, in a Hindu ceremony in Mumbai, after two years of dating. On 21 October 2010, he became a father to twins, a boy and a girl.
He is a devout Shaiva Hindu who has read holy scriptures and theological works.
Bombay (now Mumbai) suffered a series of serial bombings in 1993. Dutt was among several people associated with Bollywood who were accused of involvement. It was alleged that Dutt accepted a delivery of weapons at his house from Abu Salem and co-accused Riyaz Siddiqui, who had also been implicated in relation to the Mumbai blasts. It was claimed that the weapons formed a part of a large consignment of arms connected to the terrorists. Dutt, however, in his confession stated that he took only one Type-56 from the producers of his movie Sanam, for his own family protection. It has also been reported that Sanjay Dutt's father Sunil Dutt's political rivalry caused Sanjay Dutt's conviction.
In April 1993, after initial reporting by Baljeet Parmar on Dutt's possession of the AK-56, he was arrested under the provisions of the Terrorist and Disruptive Activities (Prevention) Act (TADA). Dutt was granted bail by the Supreme Court of India on 5 May 1993; however, on 4 July 1994 his bail was cancelled and he was re-arrested. On 16 October 1995 he was granted bail. Abdul Qayyum Abdul Karim Shaikh, who was thought to be a close aide of the terrorists' ringleader, Dawood Ibrahim, was arrested. Dutt had given Qayuum's name to the police when confessing to arms possession, saying that in September 1992 he had bought a pistol from Qayuum in Dubai. His arrest coincided with the release of his film, Khalnayak, in which he played a wanted criminal. The film's major success was in part due to Dutt's off-screen legal controversy.
On 31 July 2007, Dutt was cleared of the charges relating to the Mumbai blast; however, the TADA court sentenced Dutt to six years' rigorous imprisonment under Arms act for illegal possession of weapons. According to The Guardian, "The actor claimed he feared for his life after the notorious 'Black Friday' bombings, which were allegedly staged by Mumbai's Muslim-dominated mafia in retaliation for deadly Hindu-Muslim clashes a few months earlier. But the judge rejected this defence and also refused bail." Dutt was returned to at the Arthur Road Jail and soon after moved to the Yerawada Central Jail in Pune. Dutt appealed against the sentence and was granted interim bail on 20 August 2007 until such time as the TADA court provided him with a copy of its judgement. On 22 October 2007 Dutt was back in jail but again applied for bail. On 27 November 2007, Dutt was granted bail by the Supreme Court. On 21 March 2013 the Supreme Court upheld the verdict but shortened the sentence to five years' imprisonment. Dutt was given a month to surrender before the authorities.
Dutt has said that "I am not a politician but I belong to a political family." He was persuaded by a close friend to contest the 2009 Lok Sabha elections as a candidate for the Samajwadi Party, but withdrew when the court refused to suspend his conviction. He was then appointed General Secretary of the Samajwadi Party, leaving that post in December 2010. In March 2013 the Supreme Court upheld Dutt's five-year sentence, 18 months of which he already spent in jail during the trial. He was given four weeks to surrender to the authorities, the court having refused to release him on probation due to the severity of the offence.
On 10 May, the Supreme Court rejected Dutt's review petition for the reconsideration of his conviction and asked him to surrender on the stipulated date. on 14 May, Dutt withdrew the mercy plea and surrendered to the Mumbai Police on 16 May 2013. Just before the surrender, the Mumbai jail authority got an anonymous letter threatening Dutt's life. Dutt filed an appeal to allow him to surrender before entering Yerwada Central Jail. Later, Dutt withdrew this request too. He was paroled from 21 December 2013. The parole was extended three times until March 2014, raising concern in Bombay High Court and a proposal from the Government of Maharashtra to amend the law of parole. He returned to Yerwada Central Jail after his parole ended. Dutt was out on a two weeks' furlough granted by the Yerwada Central Jail authorities on 24 December. He was subsequently incarcerated in Yerwada Central Jail, to complete his jail term. He was released from there on 25 February 2016 after serving his sentence.
Health issues
Dutt was diagnosed with stage 3 lung cancer in August 2020. He did his treatment in Mumbai and now recovered from lung cancer.
In popular culture
The author Yasser Usman published a biographical book on Dutt, titled Sanjay Dutt: The Crazy Untold Story of Bollywood's Bad Boy, in 2018.
A film based on his life, Sanju, in which Ranbir Kapoor portrays the role of Dutt.
In 2021, Punjabi Singer from Brampton, Sidhu Moose Wala had also made a song Sanju, comparing his AK-47 possession and firing case with Sanjay Dutt.
Bibliography
References
External links
Male actors in Hindi cinema
Living people
1959 births
Filmfare Awards winners
Indian male child actors
Indian male singers
Lawrence School, Sanawar alumni
Politicians from Mumbai
Samajwadi Party politicians
Male actors from Mumbai
Film producers from Mumbai
Indian actor-politicians
Bigg Boss
Indian game show hosts
Punjabi people
20th-century Indian male actors
21st-century Indian male actors
Indian male comedians
Hindi film producers
Indian criminals
Indian Hindus | true | [
"Glover v. United States, 531 U.S. 198 (2001), was a United States Supreme Court case decided in 2001. The case dealt with a technical question of law relating to whether a showing of prejudice in incorrect sentencing decisions is required for a correction of that sentence.\n\nBackground\nPaul Glover was the Vice President and General Counsel of the Chicago Truck Drivers, Helpers, and Warehouse Workers Union. A trial showed that he tried to enrich himself and others through kickbacks. The federal trial court sentenced him to 84 months in prison, denying a request to 'group' consideration of similar offenses on which he was convicted, which would have lowered the sentence range. His attorneys did not raise this issue on his first appeal to the Seventh Circuit, which affirmed his conviction. Glover filed a motion on his own to try to correct his sentence. He argued that the failure of his attorneys to appeal on the grouping question constituted ineffective assistance of counsel. However, because there was no proof that the sentencing alteration was 'significant', the Court of Appeals for the Seventh Circuit affirmed. Glover wanted a lower range (which would have a minimum of 63 months) and so he appealed to the United States Supreme Court which granted the case for consideration in 2000.\n\nOpinion of the Court\nJustice Anthony Kennedy wrote the decision of the Court which was unanimous. He stated that the Strickland test's prejudice prong did not require a showing that a wrongful increase in a sentence met 'a standard of significance'. The Seventh Circuit was thus incorrect because \"there is no obvious dividing line by which to measure how much longer a sentence must be for the increase to constitute substantial prejudice... although the amount by which a defendant's sentence is increased by a particular decision may be a factor to consider in determining whether counsel's performance in failing to argue the point constitutes ineffective assistance, ...it cannot serve as a bar to a showing of prejudice.\" Therefore, Glover's sentence had to be recalculated and the case was remanded for further proceedings in lower courts.\n\nSee also\n Strickland v. Washington\n\nReferences\n\nExternal links\n\nUnited States Supreme Court cases\n2001 in United States case law\nUnited States Sixth Amendment ineffective assistance of counsel case law\nUnited States Supreme Court cases of the Rehnquist Court",
"Bekim Halilaj is the majority shareholder and president of Albanian football club Luftëtari.\n\nEarly life\nHalilaj was convicted of fraud in Albania in 1996 and was sentenced to five years in prison, but he did not serve any prison time as he moved to Greece shortly after the conviction. He settled in Thessaloniki where he lived for over a decade before his sentence was pardoned and he was able to return to Albania.\n\nReferences\n\nLiving people\n20th-century Albanian people\n21st-century Albanian people\nAlbanian businesspeople\nYear of birth missing (living people)"
]
|
[
"Sanjay Dutt",
"2007-2009",
"Did Sanjay Dutt star in any major films in 2007?",
"I don't know.",
"Did Sanjay Dutt act in any films between 2007 and 2009?",
"I don't know.",
"What did Sanjay Dutt do between 2007 and 2009?",
"On 31 July 2007, the TADA court sentenced Dutt to six years' rigorous imprisonment for illegal possession of weapons",
"Did he serve his entire sentence?",
"Dutt appealed against the sentence and was granted interim bail on 20 August 2007"
]
| C_656b9bc145184e728cf2fcded320f03f_0 | Did he make any comments about the case? | 5 | Did Sanjay Dutt make any comments about the 2007 case? | Sanjay Dutt | Abdul Qayyum Abdul Karim Shaikh, who was thought to be a close aide of the terrorists' ringleader, Dawood Ibrahim, was arrested. Dutt had given Qayuum's name to the police when confessing to arms possession, saying that in September 1992 he had bought a pistol from Qayuum in Dubai. On 31 July 2007, the TADA court sentenced Dutt to six years' rigorous imprisonment for illegal possession of weapons and cleared him of charges relating to the Mumbai blasts. According to The Guardian, "The actor claimed he feared for his life after the notorious "Black Friday" bombings, which were allegedly staged by Mumbai's Muslim-dominated mafia in retaliation for deadly Hindu-Muslim clashes a few months earlier. But the judge rejected this defence and also refused bail." Dutt was returned to jail at Arthur Road and soon after moved to the Yerwada Central Jail in Pune. Dutt appealed against the sentence and was granted interim bail on 20 August 2007 until such time as the TADA court provided him with a copy of its judgement. On 22 October 2007 Dutt was back in jail but again applied for bail. On 27 November 2007, Dutt was granted bail by the Supreme Court. On 21 March 2013 the Supreme Court upheld the verdict of the TADA court but shortened the sentence to five years' imprisonment. Dutt was given a month to surrender before the authorities. Dutt has said that "I am not a politician but I belong to a political family." He was persuaded by a close friend to contest the 2009 Lok Sabha elections as a candidate for the Samajwadi Party but withdrew when the court refused to suspend his conviction. He was then appointed General Secretary of the party, leaving that post in December 2010. CANNOTANSWER | On 22 October 2007 Dutt was back in jail but again applied for bail. | Sanjay Balraj Dutt (born 29 July 1959) is an Indian actor who works in Hindi films. He is the recipient of several awards, including two Filmfare Awards and three Screen Awards. Dutt acted in 187 films, ranging from romance to comedy genres, but is usually typecast in action genres, and established himself as one of the most popular Hindi film actors of the later 1980s, 1990s, 2000s, and 2010s.
The son of actors Sunil Dutt and Nargis, Dutt made his acting debut in Rocky (1981), which was directed by his father. The crime thriller Naam (1985) proved to be a turning point in his career, which was followed by a series of commercially successful films in that decade, including Jeete Hain Shaan Se (1988), Mardon Wali Baat (1988), Ilaaka (1989), Hum Bhi Insaan Hain (1989) and Kanoon Apna Apna (1989). He earned nominations for the Filmfare Award for Best Actor for Saajan (1991) and Khalnayak (1993). Dutt earned his first Best Actor at the ceremony for playing a common man-turned-gangster in Vaastav: The Reality (1999). Along with Vaastav: The Reality, he also won accolades for playing an army officer in Mission Kashmir (2001), a soft-hearted goofy gangster in Munna Bhai M.B.B.S. (2003) and its sequel Lage Raho Munna Bhai (2006).
Dutt was arrested under the TADA and the Arms Act in April 1993 and was convicted for violation of Arms Act for possession of illegal weapons procured from other accused in the 1993 Bombay bombings. After serving his sentence, he was released in 2016. Dutt's life receives considerable media coverage in India, and in 2018, Sanju, a biopic based on his life (which also saw a special appearance by him), was released to positive reviews and emerged as one of the highest-grossers of Indian cinema.
Early life
Dutt was born on 29th July, 1959 in Bombay to noted cinema actors Sunil Dutt and Nargis. He has two sisters, Priya Dutt and Namrata Dutt. Sanjay's name was chosen by crowdsourcing via the Urdu language film magazine Shama. His mother died in 1981, shortly before his debut film's premiere; her death is cited as the instigator of his drug abuse. As a child actor, Dutt appeared briefly as a qawali singer in the 1972 film Reshma Aur Shera, which starred his father.
Career
Early career and breakthrough (1981–1993)
Dutt made his Bollywood movie debut with the box-office super hit Rocky in 1981. Dutt then went on to star in Vidhaata, the highest-grossing Hindi film of 1982, along with film veterans Dilip Kumar, Shammi Kapoor and Sanjeev Kumar. He also starred in movies like Main Awara Hoon (1983). In 1985 he shot Jaan Ki Baazi, his first film in two years.
The 1986 film Naam was a turning point in Dutt's career, it was a major commercial and critical success. Dutt appeared in successful films throughout the '80s such as Imaandaar, Inaam Dus Hazaar, Jeete Hain Shaan Se (1988), Mardon Wali Baat (1988), Ilaaka (1989), Hum Bhi Insaan Hain (1989), Kanoon Apna Apna (1989) and Taaqatwar.
His performances in both Kabzaa (1988) and J. P. Dutta's 1989 Hathyar were both well received by critics although both films only managed average collections at the box office. In the late 1980s he was seen in a number of multi-starrers alongside leading actors like Govinda, Mithun, Dharmendra, Jackie Shroff and Sunny Deol.
His successes continued in the 1990s, with films that include Tejaa, Khatarnaak, Zahreelay, Thanedaar, Khoon Ka Karz, Yalgaar, Gumrah, Sahibaan and Aatish: Feel the Fire. He went on to star in some of the most era-defining Indian films of the early 1990s such as Sadak, Saajan (for which he was nominated for the Filmfare Best Actor Award) and Khalnayak, for which he earned his second Filmfare Best Actor Award nomination.
The Hindu wrote that "Sanjay's earlier films (like Naam and Sadak) got him a lot of favourable attention." and "Saajan established Sanjay Dutt as the conventional soft hero."Saajan was the highest-grossing Bollywood film of 1991, and Sadak was the fifth highest grosser of 1991. Khalnayak became a blockbuster and was the second-highest grosser of 1993. This was followed by another box office success Gumrah, this was Dutt's second consecutive hit of the year.
Arrest due to involvement in 1993 serial bombings, films after arrest (1993 - 1999)
Bombay (now Mumbai) suffered a series of serial bombings in 1993. Dutt was among several people associated with Bollywood who were accused of involvement. It was alleged that Dutt accepted a delivery of weapons at his house from Abu Salem and co-accused Riyaz Siddiqui, who had also been implicated in relation to the Mumbai blasts. It was claimed that the weapons formed a part of a large consignment of arms connected to the terrorists. Dutt, however, in his confession stated that he took only one Type-56 from the producers of his movie Sanam, for his own family protection. It has also been reported that Sanjay Dutt's father Sunil Dutt's political rivalry caused Sanjay Dutt's conviction.. Dutt's first film after his 1993 arrest was Daud (1997). It did average business at the box office despite getting a lot of publicity. This was followed by Dushman which did well financially.
Comeback (1999 – 2003)
1999 was an excellent year for Dutt and one that is regarded as his comeback, with all of his five releases being amongst the highest-grossing films of that year. He began it by starring in the Mahesh Bhatt-directed film Kartoos, followed by Khoobsurat, Haseena Maan Jaayegi, Daag: The Fire and Vaastav: The Reality, for which he won many awards, including his first Filmfare Best Actor Award. His role in 2000's Mission Kashmir won him critical acclaim and a number of awards and nominations. Dutt was also invited by the President of India to Rashtrapati Bhavan for his performance in the movie.
Breakthrough with Munna Bhai M.B.B.S., prolonged success (2003 - present)
As the decade went on, he continued to play lead roles in popular and critical successes such as Jodi No.1 (2001), Pitaah (2002), Kaante (2002) and the National Award-winning film Munna Bhai M.B.B.S. (2003), which garnered him several awards. At the box office Munna Bhai M.B.B.S. achieved a silver jubilee status (25-week run) being one of only eight films to have achieved this status since the year 2000. In its 26th week of release, the film could still be found playing on 257 screens throughout India. Later successes came with Musafir (2004), Plan (2004), Parineeta (2005) and Dus (2005). He won critical acclaim for his performances in Shabd (2005) and Zinda.
The sequel of Munna Bhai M.B.B.S., Lage Raho Munna Bhai was released in late 2006. Dutt received a number of awards for his performance in the film, along with an award from the Prime Minister Manmohan Singh for his work in the Munna bhai series. NDTV India counted the character Munna Bhai as one of top 20 fictional characters in Bollywood. Later Dutt starred in movies like Dhamaal (2007), Shootout at Lokhandwala (2007), All the Best (2009), Double Dhamaal (2011), Son of Sardaar (2012) Agneepath (2012) and PK.
In January 2008, the Indian film Institute Filmfare listed 12 films featuring Dutt in its list of top 100 highest-grossing movies of all time. In its May 2013 edition "100 years of Indian cinema" Filmfare listed three films featuring Dutt in its top 20 list of highest-grossing Hindi films of all time, adjusted for inflation these films were Lage Raho Munna Bhai, Khalnayak and Saajan.
Vidhu Vinod Chopra on 29 September 2016 announced that the third part of Munna Bhai series, starring Dutt in the title role, would begin soon. In 2017, Dutt appeared as the lead in Bhoomi, directed by Omung Kumar. In 2018, he starred in Saheb, Biwi Aur Gangster 3. In 2018, it was also announced that Dutt would feature alongside Ranbir Kapoor and Vaani Kapoor in Shamshera, which will release on 31 July 2020. On 29 June 2018, his biopic Sanju released in which he made a special appearance. Dutt and Alia Bhatt are currently shooting for Sadak 2. In 2019, he joined the cast of historical film Bhuj: The Pride of India, which will feature an ensemble cast consisting of Ajay Devgn, Sonakshi Sinha and Parineeti Chopra. He was seen in the film Prassthanam on 20 September 2019.
Dutt is currently working as the main antagonist on K.G.F: Chapter 2, the sequel to the blockbuster Kannada film, K.G.F: Chapter 1, marking his debut in Kannada cinema. Sanjay Dutt will now appear in films like Shamshera, RRR and Prithviraj.
Off-screen work
Dutt co-hosted the fifth season of the Indian reality show Bigg Boss along with Salman Khan. The show aired on Colors television from 2 October 2011 to 7 January 2012. Dutt later said it was Khan who persuaded him to co-host the show. Dutt and entrepreneur Indian Premier League cricket team owner Raj Kundra together launched India's first professionally organised mixed martial arts league—the Super Fight League—on 16 January 2012.
Personal life and media image
In the early 1980s, Dutt had a relationship with his co-star from his first film, Tina Munim. After this relationship ended, Dutt married actress Richa Sharma in 1987. She died of a brain tumour in 1996. The couple have a daughter, Trishala Dutt, born in 1988, who lives in the United States with her maternal grandparents.
Dutt's second marriage was to air-hostess-turned-model Rhea Pillai in February 1998. The divorce finalised in 2008. Dutt married Manyata (born Dilnawaz Sheikh) first registered in Goa in 2008 and then, in a Hindu ceremony in Mumbai, after two years of dating. On 21 October 2010, he became a father to twins, a boy and a girl.
He is a devout Shaiva Hindu who has read holy scriptures and theological works.
Bombay (now Mumbai) suffered a series of serial bombings in 1993. Dutt was among several people associated with Bollywood who were accused of involvement. It was alleged that Dutt accepted a delivery of weapons at his house from Abu Salem and co-accused Riyaz Siddiqui, who had also been implicated in relation to the Mumbai blasts. It was claimed that the weapons formed a part of a large consignment of arms connected to the terrorists. Dutt, however, in his confession stated that he took only one Type-56 from the producers of his movie Sanam, for his own family protection. It has also been reported that Sanjay Dutt's father Sunil Dutt's political rivalry caused Sanjay Dutt's conviction.
In April 1993, after initial reporting by Baljeet Parmar on Dutt's possession of the AK-56, he was arrested under the provisions of the Terrorist and Disruptive Activities (Prevention) Act (TADA). Dutt was granted bail by the Supreme Court of India on 5 May 1993; however, on 4 July 1994 his bail was cancelled and he was re-arrested. On 16 October 1995 he was granted bail. Abdul Qayyum Abdul Karim Shaikh, who was thought to be a close aide of the terrorists' ringleader, Dawood Ibrahim, was arrested. Dutt had given Qayuum's name to the police when confessing to arms possession, saying that in September 1992 he had bought a pistol from Qayuum in Dubai. His arrest coincided with the release of his film, Khalnayak, in which he played a wanted criminal. The film's major success was in part due to Dutt's off-screen legal controversy.
On 31 July 2007, Dutt was cleared of the charges relating to the Mumbai blast; however, the TADA court sentenced Dutt to six years' rigorous imprisonment under Arms act for illegal possession of weapons. According to The Guardian, "The actor claimed he feared for his life after the notorious 'Black Friday' bombings, which were allegedly staged by Mumbai's Muslim-dominated mafia in retaliation for deadly Hindu-Muslim clashes a few months earlier. But the judge rejected this defence and also refused bail." Dutt was returned to at the Arthur Road Jail and soon after moved to the Yerawada Central Jail in Pune. Dutt appealed against the sentence and was granted interim bail on 20 August 2007 until such time as the TADA court provided him with a copy of its judgement. On 22 October 2007 Dutt was back in jail but again applied for bail. On 27 November 2007, Dutt was granted bail by the Supreme Court. On 21 March 2013 the Supreme Court upheld the verdict but shortened the sentence to five years' imprisonment. Dutt was given a month to surrender before the authorities.
Dutt has said that "I am not a politician but I belong to a political family." He was persuaded by a close friend to contest the 2009 Lok Sabha elections as a candidate for the Samajwadi Party, but withdrew when the court refused to suspend his conviction. He was then appointed General Secretary of the Samajwadi Party, leaving that post in December 2010. In March 2013 the Supreme Court upheld Dutt's five-year sentence, 18 months of which he already spent in jail during the trial. He was given four weeks to surrender to the authorities, the court having refused to release him on probation due to the severity of the offence.
On 10 May, the Supreme Court rejected Dutt's review petition for the reconsideration of his conviction and asked him to surrender on the stipulated date. on 14 May, Dutt withdrew the mercy plea and surrendered to the Mumbai Police on 16 May 2013. Just before the surrender, the Mumbai jail authority got an anonymous letter threatening Dutt's life. Dutt filed an appeal to allow him to surrender before entering Yerwada Central Jail. Later, Dutt withdrew this request too. He was paroled from 21 December 2013. The parole was extended three times until March 2014, raising concern in Bombay High Court and a proposal from the Government of Maharashtra to amend the law of parole. He returned to Yerwada Central Jail after his parole ended. Dutt was out on a two weeks' furlough granted by the Yerwada Central Jail authorities on 24 December. He was subsequently incarcerated in Yerwada Central Jail, to complete his jail term. He was released from there on 25 February 2016 after serving his sentence.
Health issues
Dutt was diagnosed with stage 3 lung cancer in August 2020. He did his treatment in Mumbai and now recovered from lung cancer.
In popular culture
The author Yasser Usman published a biographical book on Dutt, titled Sanjay Dutt: The Crazy Untold Story of Bollywood's Bad Boy, in 2018.
A film based on his life, Sanju, in which Ranbir Kapoor portrays the role of Dutt.
In 2021, Punjabi Singer from Brampton, Sidhu Moose Wala had also made a song Sanju, comparing his AK-47 possession and firing case with Sanjay Dutt.
Bibliography
References
External links
Male actors in Hindi cinema
Living people
1959 births
Filmfare Awards winners
Indian male child actors
Indian male singers
Lawrence School, Sanawar alumni
Politicians from Mumbai
Samajwadi Party politicians
Male actors from Mumbai
Film producers from Mumbai
Indian actor-politicians
Bigg Boss
Indian game show hosts
Punjabi people
20th-century Indian male actors
21st-century Indian male actors
Indian male comedians
Hindi film producers
Indian criminals
Indian Hindus | true | [
"Jennings v Buchanan [2004] NZPC 4; [2004] UKPC 36; [2005] 2 NZLR 577; [2005] 1 AC 115 is a cited case in New Zealand regarding defamation and the defence of parliamentary privilege.\n\nBackground\nIn 1997, during a parliamentary debate, ACT MP Owen Jennings made a claim about an unnamed member of the Wool Board who had arranged a sponsorship by the NZWB for a rugby event, in order that he could take his mistress on the tour to carry on their \"illicit affair\".\n\nWhilst he did not name this official, most people knew he was talking about NZWB member Roger Buchanan.\n\nUnfortunately for Buchanan, as this comment was made in Parliament, Jennings was protected by parliamentary privilege.\n\nHowever, several months later, during an interview with The Independent newspaper, Jennings said that he “did not resile from his claim about the officials' relationship”, and as a result, Buchanan sued Jennings in defamation for his comments in the subsequent interview.\n\nJennings defended the matter, saying that he was merely repeating comments he made in Parliament, and those original comments were absolutely protected by parliamentary privilege.\n\nHeld\nThe court ruled that privilege did not apply in the interview, and so his defence failed.\n\nReferences\n\nJudicial Committee of the Privy Council cases on appeal from New Zealand\nNew Zealand tort case law\n2004 in New Zealand law\n2004 in case law",
"Rector v. Major League Baseball Advanced Media, No. 303630 (N.Y. Sup. Bronx Co. 2014), was a New York Supreme Court defamation case. Andrew Rector sued Major League Baseball, the New York Yankees, ESPN and their MLB announcers for broadcasting images of him sleeping at a game at Yankee Stadium between the New York Yankees and the Boston Red Sox and allegedly making defamatory comments about him. Rector sued for $10 million for \"defamation and intentional infliction of emotional distress\". The case was dismissed by Judge Julia Rodriguez, who ruled that the statements made were not defamatory.\n\nBackground \nOn April 13, 2014, Rector attended Yankee Stadium to watch the New York Yankees play the Boston Red Sox in a Yankees–Red Sox rivalry game. During the fourth inning, Rector was filmed by ESPN sleeping in his seat with the footage broadcast to viewers during their live coverage of the game. ESPN New York announcers Dan Shulman and John Kruk made a number of jokes about him when his image was placed on the stadium jumbotron. They initially commented that Rector was oblivious to the quality of MLB.tv that they had been promoting in commentary prior to Rector's image being broadcast and then made comments about Rector, questioning how he could sleep through a Carlos Beltran home run and stated that the person who sat next to him did not want to share his food with Rector. They also compared Rector's body size to Kruk's. MLB later posted the broadcast video of Rector sleeping online where it was covered by a number of media organizations worldwide. Rector filed a defamation lawsuit at the New York Supreme Court in The Bronx, New York against MLB, ESPN, the Yankees and the ESPN announcers for $10 million alleging that they subjected him to \"an unending verbal crusade\". Legal experts speculated that the challenge would not be successful owing to the statements causing emotional stress rather than damaging reputation and due to defamation cases historically being unsuccessful under New York State law.\n\nCase \nRector alleged in his claim, which was reportedly full of typographical and grammatical errors, that the announcers had called him \"a fatty cow\", then used words such as stupor, unintelligent and stupid, and said that he was \"not worthy to be a fan.\" He also alleged that MLB.com had posted numerous memes, including one of him involved in a homosexual kiss and one with the caption of \"Yankee's Fan cares not for your rivalry talk\", that implied that he supported what was occurring in the images. He claimed that the MLB's posting of the video online \"set the stage\" for further defamatory comments from online viewers. The MLB's legal team filed a motion to dismiss on procedural grounds, as Rector had not stated a cause of action, and the statements in question had been loose and hyperbolic and not malicious defamation. The MLB, ESPN and the New York Yankees submitted CD copies of both the incident and the entire broadcast, which they stated showed that the statements alleged by the plaintiff were not made.\n\nIn court, Judge Julia Rodriguez granted the defendants' motions. In her judgement, she stated that the CDs of the broadcasts showed that the announcers did not make the statements alleged in the complaint and that they had been made by other individuals on websites not run by the defendants. While she agreed that comments had been made about Rector's weight and his ability to sleep through a standing ovation, he was only shown and commented on for 31 seconds; the judge ruled the comments made did not meet the legal standard of defamation. She also stated that ESPN had not broadcast Rector unauthorized, as it was common practice for broadcasters at baseball games to show spectators. Judge Rodriguez stated that with regard to Rector's claim of \"emotional distress\", none of the alleged comments were attributable to the defendants and they could not be held responsible for alleged defamatory comments made by third parties on third-party websites, as there was no duty of care to protect him from those statements. As a result, the case was dismissed.\n\nAftermath \nFollowing Rector's filing of the case being made public, news organisations criticized the action as frivolous litigation. Legal commentators stated that due to the media attention that the case brought, Rector probably ended up causing more damage to his reputation by bringing the case than the initial broadcast would have. Rector's lawyer, Valentine Okwara had stated that he had advised his client that \"there is room for appeal\". The lawsuit has since been used as a case study on the issue of defamation at sports events.\n\nReferences \n\n2014 in United States case law\nDefamation case law\n2014 in New York City\nNew York Supreme Court cases\nMajor League Baseball"
]
|
[
"Sanjay Dutt",
"2007-2009",
"Did Sanjay Dutt star in any major films in 2007?",
"I don't know.",
"Did Sanjay Dutt act in any films between 2007 and 2009?",
"I don't know.",
"What did Sanjay Dutt do between 2007 and 2009?",
"On 31 July 2007, the TADA court sentenced Dutt to six years' rigorous imprisonment for illegal possession of weapons",
"Did he serve his entire sentence?",
"Dutt appealed against the sentence and was granted interim bail on 20 August 2007",
"Did he make any comments about the case?",
"On 22 October 2007 Dutt was back in jail but again applied for bail."
]
| C_656b9bc145184e728cf2fcded320f03f_0 | Is anything else interesting about the article? | 6 | Besides Sanjay Dutt going back to Jail on 22 October 2007, Is anything else interesting about the article? | Sanjay Dutt | Abdul Qayyum Abdul Karim Shaikh, who was thought to be a close aide of the terrorists' ringleader, Dawood Ibrahim, was arrested. Dutt had given Qayuum's name to the police when confessing to arms possession, saying that in September 1992 he had bought a pistol from Qayuum in Dubai. On 31 July 2007, the TADA court sentenced Dutt to six years' rigorous imprisonment for illegal possession of weapons and cleared him of charges relating to the Mumbai blasts. According to The Guardian, "The actor claimed he feared for his life after the notorious "Black Friday" bombings, which were allegedly staged by Mumbai's Muslim-dominated mafia in retaliation for deadly Hindu-Muslim clashes a few months earlier. But the judge rejected this defence and also refused bail." Dutt was returned to jail at Arthur Road and soon after moved to the Yerwada Central Jail in Pune. Dutt appealed against the sentence and was granted interim bail on 20 August 2007 until such time as the TADA court provided him with a copy of its judgement. On 22 October 2007 Dutt was back in jail but again applied for bail. On 27 November 2007, Dutt was granted bail by the Supreme Court. On 21 March 2013 the Supreme Court upheld the verdict of the TADA court but shortened the sentence to five years' imprisonment. Dutt was given a month to surrender before the authorities. Dutt has said that "I am not a politician but I belong to a political family." He was persuaded by a close friend to contest the 2009 Lok Sabha elections as a candidate for the Samajwadi Party but withdrew when the court refused to suspend his conviction. He was then appointed General Secretary of the party, leaving that post in December 2010. CANNOTANSWER | On 21 March 2013 the Supreme Court upheld the verdict of the TADA court but shortened the sentence to five years' imprisonment. | Sanjay Balraj Dutt (born 29 July 1959) is an Indian actor who works in Hindi films. He is the recipient of several awards, including two Filmfare Awards and three Screen Awards. Dutt acted in 187 films, ranging from romance to comedy genres, but is usually typecast in action genres, and established himself as one of the most popular Hindi film actors of the later 1980s, 1990s, 2000s, and 2010s.
The son of actors Sunil Dutt and Nargis, Dutt made his acting debut in Rocky (1981), which was directed by his father. The crime thriller Naam (1985) proved to be a turning point in his career, which was followed by a series of commercially successful films in that decade, including Jeete Hain Shaan Se (1988), Mardon Wali Baat (1988), Ilaaka (1989), Hum Bhi Insaan Hain (1989) and Kanoon Apna Apna (1989). He earned nominations for the Filmfare Award for Best Actor for Saajan (1991) and Khalnayak (1993). Dutt earned his first Best Actor at the ceremony for playing a common man-turned-gangster in Vaastav: The Reality (1999). Along with Vaastav: The Reality, he also won accolades for playing an army officer in Mission Kashmir (2001), a soft-hearted goofy gangster in Munna Bhai M.B.B.S. (2003) and its sequel Lage Raho Munna Bhai (2006).
Dutt was arrested under the TADA and the Arms Act in April 1993 and was convicted for violation of Arms Act for possession of illegal weapons procured from other accused in the 1993 Bombay bombings. After serving his sentence, he was released in 2016. Dutt's life receives considerable media coverage in India, and in 2018, Sanju, a biopic based on his life (which also saw a special appearance by him), was released to positive reviews and emerged as one of the highest-grossers of Indian cinema.
Early life
Dutt was born on 29th July, 1959 in Bombay to noted cinema actors Sunil Dutt and Nargis. He has two sisters, Priya Dutt and Namrata Dutt. Sanjay's name was chosen by crowdsourcing via the Urdu language film magazine Shama. His mother died in 1981, shortly before his debut film's premiere; her death is cited as the instigator of his drug abuse. As a child actor, Dutt appeared briefly as a qawali singer in the 1972 film Reshma Aur Shera, which starred his father.
Career
Early career and breakthrough (1981–1993)
Dutt made his Bollywood movie debut with the box-office super hit Rocky in 1981. Dutt then went on to star in Vidhaata, the highest-grossing Hindi film of 1982, along with film veterans Dilip Kumar, Shammi Kapoor and Sanjeev Kumar. He also starred in movies like Main Awara Hoon (1983). In 1985 he shot Jaan Ki Baazi, his first film in two years.
The 1986 film Naam was a turning point in Dutt's career, it was a major commercial and critical success. Dutt appeared in successful films throughout the '80s such as Imaandaar, Inaam Dus Hazaar, Jeete Hain Shaan Se (1988), Mardon Wali Baat (1988), Ilaaka (1989), Hum Bhi Insaan Hain (1989), Kanoon Apna Apna (1989) and Taaqatwar.
His performances in both Kabzaa (1988) and J. P. Dutta's 1989 Hathyar were both well received by critics although both films only managed average collections at the box office. In the late 1980s he was seen in a number of multi-starrers alongside leading actors like Govinda, Mithun, Dharmendra, Jackie Shroff and Sunny Deol.
His successes continued in the 1990s, with films that include Tejaa, Khatarnaak, Zahreelay, Thanedaar, Khoon Ka Karz, Yalgaar, Gumrah, Sahibaan and Aatish: Feel the Fire. He went on to star in some of the most era-defining Indian films of the early 1990s such as Sadak, Saajan (for which he was nominated for the Filmfare Best Actor Award) and Khalnayak, for which he earned his second Filmfare Best Actor Award nomination.
The Hindu wrote that "Sanjay's earlier films (like Naam and Sadak) got him a lot of favourable attention." and "Saajan established Sanjay Dutt as the conventional soft hero."Saajan was the highest-grossing Bollywood film of 1991, and Sadak was the fifth highest grosser of 1991. Khalnayak became a blockbuster and was the second-highest grosser of 1993. This was followed by another box office success Gumrah, this was Dutt's second consecutive hit of the year.
Arrest due to involvement in 1993 serial bombings, films after arrest (1993 - 1999)
Bombay (now Mumbai) suffered a series of serial bombings in 1993. Dutt was among several people associated with Bollywood who were accused of involvement. It was alleged that Dutt accepted a delivery of weapons at his house from Abu Salem and co-accused Riyaz Siddiqui, who had also been implicated in relation to the Mumbai blasts. It was claimed that the weapons formed a part of a large consignment of arms connected to the terrorists. Dutt, however, in his confession stated that he took only one Type-56 from the producers of his movie Sanam, for his own family protection. It has also been reported that Sanjay Dutt's father Sunil Dutt's political rivalry caused Sanjay Dutt's conviction.. Dutt's first film after his 1993 arrest was Daud (1997). It did average business at the box office despite getting a lot of publicity. This was followed by Dushman which did well financially.
Comeback (1999 – 2003)
1999 was an excellent year for Dutt and one that is regarded as his comeback, with all of his five releases being amongst the highest-grossing films of that year. He began it by starring in the Mahesh Bhatt-directed film Kartoos, followed by Khoobsurat, Haseena Maan Jaayegi, Daag: The Fire and Vaastav: The Reality, for which he won many awards, including his first Filmfare Best Actor Award. His role in 2000's Mission Kashmir won him critical acclaim and a number of awards and nominations. Dutt was also invited by the President of India to Rashtrapati Bhavan for his performance in the movie.
Breakthrough with Munna Bhai M.B.B.S., prolonged success (2003 - present)
As the decade went on, he continued to play lead roles in popular and critical successes such as Jodi No.1 (2001), Pitaah (2002), Kaante (2002) and the National Award-winning film Munna Bhai M.B.B.S. (2003), which garnered him several awards. At the box office Munna Bhai M.B.B.S. achieved a silver jubilee status (25-week run) being one of only eight films to have achieved this status since the year 2000. In its 26th week of release, the film could still be found playing on 257 screens throughout India. Later successes came with Musafir (2004), Plan (2004), Parineeta (2005) and Dus (2005). He won critical acclaim for his performances in Shabd (2005) and Zinda.
The sequel of Munna Bhai M.B.B.S., Lage Raho Munna Bhai was released in late 2006. Dutt received a number of awards for his performance in the film, along with an award from the Prime Minister Manmohan Singh for his work in the Munna bhai series. NDTV India counted the character Munna Bhai as one of top 20 fictional characters in Bollywood. Later Dutt starred in movies like Dhamaal (2007), Shootout at Lokhandwala (2007), All the Best (2009), Double Dhamaal (2011), Son of Sardaar (2012) Agneepath (2012) and PK.
In January 2008, the Indian film Institute Filmfare listed 12 films featuring Dutt in its list of top 100 highest-grossing movies of all time. In its May 2013 edition "100 years of Indian cinema" Filmfare listed three films featuring Dutt in its top 20 list of highest-grossing Hindi films of all time, adjusted for inflation these films were Lage Raho Munna Bhai, Khalnayak and Saajan.
Vidhu Vinod Chopra on 29 September 2016 announced that the third part of Munna Bhai series, starring Dutt in the title role, would begin soon. In 2017, Dutt appeared as the lead in Bhoomi, directed by Omung Kumar. In 2018, he starred in Saheb, Biwi Aur Gangster 3. In 2018, it was also announced that Dutt would feature alongside Ranbir Kapoor and Vaani Kapoor in Shamshera, which will release on 31 July 2020. On 29 June 2018, his biopic Sanju released in which he made a special appearance. Dutt and Alia Bhatt are currently shooting for Sadak 2. In 2019, he joined the cast of historical film Bhuj: The Pride of India, which will feature an ensemble cast consisting of Ajay Devgn, Sonakshi Sinha and Parineeti Chopra. He was seen in the film Prassthanam on 20 September 2019.
Dutt is currently working as the main antagonist on K.G.F: Chapter 2, the sequel to the blockbuster Kannada film, K.G.F: Chapter 1, marking his debut in Kannada cinema. Sanjay Dutt will now appear in films like Shamshera, RRR and Prithviraj.
Off-screen work
Dutt co-hosted the fifth season of the Indian reality show Bigg Boss along with Salman Khan. The show aired on Colors television from 2 October 2011 to 7 January 2012. Dutt later said it was Khan who persuaded him to co-host the show. Dutt and entrepreneur Indian Premier League cricket team owner Raj Kundra together launched India's first professionally organised mixed martial arts league—the Super Fight League—on 16 January 2012.
Personal life and media image
In the early 1980s, Dutt had a relationship with his co-star from his first film, Tina Munim. After this relationship ended, Dutt married actress Richa Sharma in 1987. She died of a brain tumour in 1996. The couple have a daughter, Trishala Dutt, born in 1988, who lives in the United States with her maternal grandparents.
Dutt's second marriage was to air-hostess-turned-model Rhea Pillai in February 1998. The divorce finalised in 2008. Dutt married Manyata (born Dilnawaz Sheikh) first registered in Goa in 2008 and then, in a Hindu ceremony in Mumbai, after two years of dating. On 21 October 2010, he became a father to twins, a boy and a girl.
He is a devout Shaiva Hindu who has read holy scriptures and theological works.
Bombay (now Mumbai) suffered a series of serial bombings in 1993. Dutt was among several people associated with Bollywood who were accused of involvement. It was alleged that Dutt accepted a delivery of weapons at his house from Abu Salem and co-accused Riyaz Siddiqui, who had also been implicated in relation to the Mumbai blasts. It was claimed that the weapons formed a part of a large consignment of arms connected to the terrorists. Dutt, however, in his confession stated that he took only one Type-56 from the producers of his movie Sanam, for his own family protection. It has also been reported that Sanjay Dutt's father Sunil Dutt's political rivalry caused Sanjay Dutt's conviction.
In April 1993, after initial reporting by Baljeet Parmar on Dutt's possession of the AK-56, he was arrested under the provisions of the Terrorist and Disruptive Activities (Prevention) Act (TADA). Dutt was granted bail by the Supreme Court of India on 5 May 1993; however, on 4 July 1994 his bail was cancelled and he was re-arrested. On 16 October 1995 he was granted bail. Abdul Qayyum Abdul Karim Shaikh, who was thought to be a close aide of the terrorists' ringleader, Dawood Ibrahim, was arrested. Dutt had given Qayuum's name to the police when confessing to arms possession, saying that in September 1992 he had bought a pistol from Qayuum in Dubai. His arrest coincided with the release of his film, Khalnayak, in which he played a wanted criminal. The film's major success was in part due to Dutt's off-screen legal controversy.
On 31 July 2007, Dutt was cleared of the charges relating to the Mumbai blast; however, the TADA court sentenced Dutt to six years' rigorous imprisonment under Arms act for illegal possession of weapons. According to The Guardian, "The actor claimed he feared for his life after the notorious 'Black Friday' bombings, which were allegedly staged by Mumbai's Muslim-dominated mafia in retaliation for deadly Hindu-Muslim clashes a few months earlier. But the judge rejected this defence and also refused bail." Dutt was returned to at the Arthur Road Jail and soon after moved to the Yerawada Central Jail in Pune. Dutt appealed against the sentence and was granted interim bail on 20 August 2007 until such time as the TADA court provided him with a copy of its judgement. On 22 October 2007 Dutt was back in jail but again applied for bail. On 27 November 2007, Dutt was granted bail by the Supreme Court. On 21 March 2013 the Supreme Court upheld the verdict but shortened the sentence to five years' imprisonment. Dutt was given a month to surrender before the authorities.
Dutt has said that "I am not a politician but I belong to a political family." He was persuaded by a close friend to contest the 2009 Lok Sabha elections as a candidate for the Samajwadi Party, but withdrew when the court refused to suspend his conviction. He was then appointed General Secretary of the Samajwadi Party, leaving that post in December 2010. In March 2013 the Supreme Court upheld Dutt's five-year sentence, 18 months of which he already spent in jail during the trial. He was given four weeks to surrender to the authorities, the court having refused to release him on probation due to the severity of the offence.
On 10 May, the Supreme Court rejected Dutt's review petition for the reconsideration of his conviction and asked him to surrender on the stipulated date. on 14 May, Dutt withdrew the mercy plea and surrendered to the Mumbai Police on 16 May 2013. Just before the surrender, the Mumbai jail authority got an anonymous letter threatening Dutt's life. Dutt filed an appeal to allow him to surrender before entering Yerwada Central Jail. Later, Dutt withdrew this request too. He was paroled from 21 December 2013. The parole was extended three times until March 2014, raising concern in Bombay High Court and a proposal from the Government of Maharashtra to amend the law of parole. He returned to Yerwada Central Jail after his parole ended. Dutt was out on a two weeks' furlough granted by the Yerwada Central Jail authorities on 24 December. He was subsequently incarcerated in Yerwada Central Jail, to complete his jail term. He was released from there on 25 February 2016 after serving his sentence.
Health issues
Dutt was diagnosed with stage 3 lung cancer in August 2020. He did his treatment in Mumbai and now recovered from lung cancer.
In popular culture
The author Yasser Usman published a biographical book on Dutt, titled Sanjay Dutt: The Crazy Untold Story of Bollywood's Bad Boy, in 2018.
A film based on his life, Sanju, in which Ranbir Kapoor portrays the role of Dutt.
In 2021, Punjabi Singer from Brampton, Sidhu Moose Wala had also made a song Sanju, comparing his AK-47 possession and firing case with Sanjay Dutt.
Bibliography
References
External links
Male actors in Hindi cinema
Living people
1959 births
Filmfare Awards winners
Indian male child actors
Indian male singers
Lawrence School, Sanawar alumni
Politicians from Mumbai
Samajwadi Party politicians
Male actors from Mumbai
Film producers from Mumbai
Indian actor-politicians
Bigg Boss
Indian game show hosts
Punjabi people
20th-century Indian male actors
21st-century Indian male actors
Indian male comedians
Hindi film producers
Indian criminals
Indian Hindus | false | [
"\"How Interesting: A Tiny Man\" is a 2010 science fiction/magical realism short story by American writer Harlan Ellison. It was first published in Realms of Fantasy.\n\nPlot summary\nA scientist creates a tiny man. The tiny man is initially very popular, but then draws the hatred of the world, and so the tiny man must flee, together with the scientist (who is now likewise hated, for having created the tiny man).\n\nReception\n\"How Interesting: A Tiny Man\" won the 2010 Nebula Award for Best Short Story, tied with Kij Johnson's \"Ponies\". It was Ellison's final Nebula nomination and win, of his record-setting eight nominations and three wins.\n\nTor.com calls the story \"deceptively simple\", with \"execution (that) is flawless\" and a \"Geppetto-like\" narrator, while Publishers Weekly describes it as \"memorably depict(ing) humanity's smallness of spirit\". The SF Site, however, felt it was \"contrived and less than profound\".\n\nNick Mamatas compared \"How Interesting: A Tiny Man\" negatively to Ellison's other Nebula-winning short stories, and stated that the story's two mutually exclusive endings (in one, the tiny man is killed; in the other, he becomes God) are evocative of the process of writing short stories. Ben Peek considered it to be \"more allegory than (...) anything else\", and interpreted it as being about how the media \"give(s) everyone a voice\", and also about how Ellison was treated by science fiction fandom.\n\nReferences\n\nExternal links\nAudio version of ''How Interesting: A Tiny Man, at StarShipSofa\nHow Interesting: A Tiny Man, at the Internet Speculative Fiction Database\n\nNebula Award for Best Short Story-winning works\nShort stories by Harlan Ellison",
"In baseball, a fair ball is a batted ball that entitles the batter to attempt to reach first base. By contrast, a foul ball is a batted ball that does not entitle the batter to attempt to reach first base. Whether a batted ball is fair or foul is determined by the location of the ball at the appropriate reference point, as follows:\n\n if the ball leaves the playing field without touching anything, the point where the ball leaves the field;\n else, if the ball first lands past first or third base without touching anything, the point where the ball lands;\n else, if the ball rolls or bounces past first or third base without touching anything other than the ground, the point where the ball passes the base;\n else, if the ball touches anything other than the ground (such as an umpire, a player, or any equipment left on the field) before any of the above happens, the point of such touching;\n else (the ball comes to a rest before reaching first or third base), the point where the ball comes to a rest.\n\nIf any part of the ball is on or above fair territory at the appropriate reference point, it is fair; else it is foul. Fair territory or fair ground is defined as the area of the playing field between the two foul lines, and includes the foul lines themselves and the foul poles. However, certain exceptions exist:\n\n A ball that touches first, second, or third base is always fair.\n Under Rule 5.09(a)(7)-(8), if a batted ball touches the batter or his bat while the batter is in the batter's box and not intentionally interfering with the course of the ball, the ball is foul.\n A ball that hits the foul pole without first having touched anything else off the bat is fair.\n Ground rules may provide whether a ball hitting specific objects (e.g. roof, overhead speaker) is fair or foul.\n\nOn a fair ball, the batter attempts to reach first base or any subsequent base, runners attempt to advance and fielders try to record outs. A fair ball is considered a live ball until the ball becomes dead by leaving the field or any other method.\n\nReferences\n\nBaseball rules"
]
|
[
"Sanjay Dutt",
"2007-2009",
"Did Sanjay Dutt star in any major films in 2007?",
"I don't know.",
"Did Sanjay Dutt act in any films between 2007 and 2009?",
"I don't know.",
"What did Sanjay Dutt do between 2007 and 2009?",
"On 31 July 2007, the TADA court sentenced Dutt to six years' rigorous imprisonment for illegal possession of weapons",
"Did he serve his entire sentence?",
"Dutt appealed against the sentence and was granted interim bail on 20 August 2007",
"Did he make any comments about the case?",
"On 22 October 2007 Dutt was back in jail but again applied for bail.",
"Is anything else interesting about the article?",
"On 21 March 2013 the Supreme Court upheld the verdict of the TADA court but shortened the sentence to five years' imprisonment."
]
| C_656b9bc145184e728cf2fcded320f03f_0 | Why was he in illegal possession of weapons? | 7 | Why was Sanjay Dutt in illegal possession of weapons? | Sanjay Dutt | Abdul Qayyum Abdul Karim Shaikh, who was thought to be a close aide of the terrorists' ringleader, Dawood Ibrahim, was arrested. Dutt had given Qayuum's name to the police when confessing to arms possession, saying that in September 1992 he had bought a pistol from Qayuum in Dubai. On 31 July 2007, the TADA court sentenced Dutt to six years' rigorous imprisonment for illegal possession of weapons and cleared him of charges relating to the Mumbai blasts. According to The Guardian, "The actor claimed he feared for his life after the notorious "Black Friday" bombings, which were allegedly staged by Mumbai's Muslim-dominated mafia in retaliation for deadly Hindu-Muslim clashes a few months earlier. But the judge rejected this defence and also refused bail." Dutt was returned to jail at Arthur Road and soon after moved to the Yerwada Central Jail in Pune. Dutt appealed against the sentence and was granted interim bail on 20 August 2007 until such time as the TADA court provided him with a copy of its judgement. On 22 October 2007 Dutt was back in jail but again applied for bail. On 27 November 2007, Dutt was granted bail by the Supreme Court. On 21 March 2013 the Supreme Court upheld the verdict of the TADA court but shortened the sentence to five years' imprisonment. Dutt was given a month to surrender before the authorities. Dutt has said that "I am not a politician but I belong to a political family." He was persuaded by a close friend to contest the 2009 Lok Sabha elections as a candidate for the Samajwadi Party but withdrew when the court refused to suspend his conviction. He was then appointed General Secretary of the party, leaving that post in December 2010. CANNOTANSWER | Abdul Qayyum Abdul Karim Shaikh, who was thought to be a close aide of the terrorists' ringleader, | Sanjay Balraj Dutt (born 29 July 1959) is an Indian actor who works in Hindi films. He is the recipient of several awards, including two Filmfare Awards and three Screen Awards. Dutt acted in 187 films, ranging from romance to comedy genres, but is usually typecast in action genres, and established himself as one of the most popular Hindi film actors of the later 1980s, 1990s, 2000s, and 2010s.
The son of actors Sunil Dutt and Nargis, Dutt made his acting debut in Rocky (1981), which was directed by his father. The crime thriller Naam (1985) proved to be a turning point in his career, which was followed by a series of commercially successful films in that decade, including Jeete Hain Shaan Se (1988), Mardon Wali Baat (1988), Ilaaka (1989), Hum Bhi Insaan Hain (1989) and Kanoon Apna Apna (1989). He earned nominations for the Filmfare Award for Best Actor for Saajan (1991) and Khalnayak (1993). Dutt earned his first Best Actor at the ceremony for playing a common man-turned-gangster in Vaastav: The Reality (1999). Along with Vaastav: The Reality, he also won accolades for playing an army officer in Mission Kashmir (2001), a soft-hearted goofy gangster in Munna Bhai M.B.B.S. (2003) and its sequel Lage Raho Munna Bhai (2006).
Dutt was arrested under the TADA and the Arms Act in April 1993 and was convicted for violation of Arms Act for possession of illegal weapons procured from other accused in the 1993 Bombay bombings. After serving his sentence, he was released in 2016. Dutt's life receives considerable media coverage in India, and in 2018, Sanju, a biopic based on his life (which also saw a special appearance by him), was released to positive reviews and emerged as one of the highest-grossers of Indian cinema.
Early life
Dutt was born on 29th July, 1959 in Bombay to noted cinema actors Sunil Dutt and Nargis. He has two sisters, Priya Dutt and Namrata Dutt. Sanjay's name was chosen by crowdsourcing via the Urdu language film magazine Shama. His mother died in 1981, shortly before his debut film's premiere; her death is cited as the instigator of his drug abuse. As a child actor, Dutt appeared briefly as a qawali singer in the 1972 film Reshma Aur Shera, which starred his father.
Career
Early career and breakthrough (1981–1993)
Dutt made his Bollywood movie debut with the box-office super hit Rocky in 1981. Dutt then went on to star in Vidhaata, the highest-grossing Hindi film of 1982, along with film veterans Dilip Kumar, Shammi Kapoor and Sanjeev Kumar. He also starred in movies like Main Awara Hoon (1983). In 1985 he shot Jaan Ki Baazi, his first film in two years.
The 1986 film Naam was a turning point in Dutt's career, it was a major commercial and critical success. Dutt appeared in successful films throughout the '80s such as Imaandaar, Inaam Dus Hazaar, Jeete Hain Shaan Se (1988), Mardon Wali Baat (1988), Ilaaka (1989), Hum Bhi Insaan Hain (1989), Kanoon Apna Apna (1989) and Taaqatwar.
His performances in both Kabzaa (1988) and J. P. Dutta's 1989 Hathyar were both well received by critics although both films only managed average collections at the box office. In the late 1980s he was seen in a number of multi-starrers alongside leading actors like Govinda, Mithun, Dharmendra, Jackie Shroff and Sunny Deol.
His successes continued in the 1990s, with films that include Tejaa, Khatarnaak, Zahreelay, Thanedaar, Khoon Ka Karz, Yalgaar, Gumrah, Sahibaan and Aatish: Feel the Fire. He went on to star in some of the most era-defining Indian films of the early 1990s such as Sadak, Saajan (for which he was nominated for the Filmfare Best Actor Award) and Khalnayak, for which he earned his second Filmfare Best Actor Award nomination.
The Hindu wrote that "Sanjay's earlier films (like Naam and Sadak) got him a lot of favourable attention." and "Saajan established Sanjay Dutt as the conventional soft hero."Saajan was the highest-grossing Bollywood film of 1991, and Sadak was the fifth highest grosser of 1991. Khalnayak became a blockbuster and was the second-highest grosser of 1993. This was followed by another box office success Gumrah, this was Dutt's second consecutive hit of the year.
Arrest due to involvement in 1993 serial bombings, films after arrest (1993 - 1999)
Bombay (now Mumbai) suffered a series of serial bombings in 1993. Dutt was among several people associated with Bollywood who were accused of involvement. It was alleged that Dutt accepted a delivery of weapons at his house from Abu Salem and co-accused Riyaz Siddiqui, who had also been implicated in relation to the Mumbai blasts. It was claimed that the weapons formed a part of a large consignment of arms connected to the terrorists. Dutt, however, in his confession stated that he took only one Type-56 from the producers of his movie Sanam, for his own family protection. It has also been reported that Sanjay Dutt's father Sunil Dutt's political rivalry caused Sanjay Dutt's conviction.. Dutt's first film after his 1993 arrest was Daud (1997). It did average business at the box office despite getting a lot of publicity. This was followed by Dushman which did well financially.
Comeback (1999 – 2003)
1999 was an excellent year for Dutt and one that is regarded as his comeback, with all of his five releases being amongst the highest-grossing films of that year. He began it by starring in the Mahesh Bhatt-directed film Kartoos, followed by Khoobsurat, Haseena Maan Jaayegi, Daag: The Fire and Vaastav: The Reality, for which he won many awards, including his first Filmfare Best Actor Award. His role in 2000's Mission Kashmir won him critical acclaim and a number of awards and nominations. Dutt was also invited by the President of India to Rashtrapati Bhavan for his performance in the movie.
Breakthrough with Munna Bhai M.B.B.S., prolonged success (2003 - present)
As the decade went on, he continued to play lead roles in popular and critical successes such as Jodi No.1 (2001), Pitaah (2002), Kaante (2002) and the National Award-winning film Munna Bhai M.B.B.S. (2003), which garnered him several awards. At the box office Munna Bhai M.B.B.S. achieved a silver jubilee status (25-week run) being one of only eight films to have achieved this status since the year 2000. In its 26th week of release, the film could still be found playing on 257 screens throughout India. Later successes came with Musafir (2004), Plan (2004), Parineeta (2005) and Dus (2005). He won critical acclaim for his performances in Shabd (2005) and Zinda.
The sequel of Munna Bhai M.B.B.S., Lage Raho Munna Bhai was released in late 2006. Dutt received a number of awards for his performance in the film, along with an award from the Prime Minister Manmohan Singh for his work in the Munna bhai series. NDTV India counted the character Munna Bhai as one of top 20 fictional characters in Bollywood. Later Dutt starred in movies like Dhamaal (2007), Shootout at Lokhandwala (2007), All the Best (2009), Double Dhamaal (2011), Son of Sardaar (2012) Agneepath (2012) and PK.
In January 2008, the Indian film Institute Filmfare listed 12 films featuring Dutt in its list of top 100 highest-grossing movies of all time. In its May 2013 edition "100 years of Indian cinema" Filmfare listed three films featuring Dutt in its top 20 list of highest-grossing Hindi films of all time, adjusted for inflation these films were Lage Raho Munna Bhai, Khalnayak and Saajan.
Vidhu Vinod Chopra on 29 September 2016 announced that the third part of Munna Bhai series, starring Dutt in the title role, would begin soon. In 2017, Dutt appeared as the lead in Bhoomi, directed by Omung Kumar. In 2018, he starred in Saheb, Biwi Aur Gangster 3. In 2018, it was also announced that Dutt would feature alongside Ranbir Kapoor and Vaani Kapoor in Shamshera, which will release on 31 July 2020. On 29 June 2018, his biopic Sanju released in which he made a special appearance. Dutt and Alia Bhatt are currently shooting for Sadak 2. In 2019, he joined the cast of historical film Bhuj: The Pride of India, which will feature an ensemble cast consisting of Ajay Devgn, Sonakshi Sinha and Parineeti Chopra. He was seen in the film Prassthanam on 20 September 2019.
Dutt is currently working as the main antagonist on K.G.F: Chapter 2, the sequel to the blockbuster Kannada film, K.G.F: Chapter 1, marking his debut in Kannada cinema. Sanjay Dutt will now appear in films like Shamshera, RRR and Prithviraj.
Off-screen work
Dutt co-hosted the fifth season of the Indian reality show Bigg Boss along with Salman Khan. The show aired on Colors television from 2 October 2011 to 7 January 2012. Dutt later said it was Khan who persuaded him to co-host the show. Dutt and entrepreneur Indian Premier League cricket team owner Raj Kundra together launched India's first professionally organised mixed martial arts league—the Super Fight League—on 16 January 2012.
Personal life and media image
In the early 1980s, Dutt had a relationship with his co-star from his first film, Tina Munim. After this relationship ended, Dutt married actress Richa Sharma in 1987. She died of a brain tumour in 1996. The couple have a daughter, Trishala Dutt, born in 1988, who lives in the United States with her maternal grandparents.
Dutt's second marriage was to air-hostess-turned-model Rhea Pillai in February 1998. The divorce finalised in 2008. Dutt married Manyata (born Dilnawaz Sheikh) first registered in Goa in 2008 and then, in a Hindu ceremony in Mumbai, after two years of dating. On 21 October 2010, he became a father to twins, a boy and a girl.
He is a devout Shaiva Hindu who has read holy scriptures and theological works.
Bombay (now Mumbai) suffered a series of serial bombings in 1993. Dutt was among several people associated with Bollywood who were accused of involvement. It was alleged that Dutt accepted a delivery of weapons at his house from Abu Salem and co-accused Riyaz Siddiqui, who had also been implicated in relation to the Mumbai blasts. It was claimed that the weapons formed a part of a large consignment of arms connected to the terrorists. Dutt, however, in his confession stated that he took only one Type-56 from the producers of his movie Sanam, for his own family protection. It has also been reported that Sanjay Dutt's father Sunil Dutt's political rivalry caused Sanjay Dutt's conviction.
In April 1993, after initial reporting by Baljeet Parmar on Dutt's possession of the AK-56, he was arrested under the provisions of the Terrorist and Disruptive Activities (Prevention) Act (TADA). Dutt was granted bail by the Supreme Court of India on 5 May 1993; however, on 4 July 1994 his bail was cancelled and he was re-arrested. On 16 October 1995 he was granted bail. Abdul Qayyum Abdul Karim Shaikh, who was thought to be a close aide of the terrorists' ringleader, Dawood Ibrahim, was arrested. Dutt had given Qayuum's name to the police when confessing to arms possession, saying that in September 1992 he had bought a pistol from Qayuum in Dubai. His arrest coincided with the release of his film, Khalnayak, in which he played a wanted criminal. The film's major success was in part due to Dutt's off-screen legal controversy.
On 31 July 2007, Dutt was cleared of the charges relating to the Mumbai blast; however, the TADA court sentenced Dutt to six years' rigorous imprisonment under Arms act for illegal possession of weapons. According to The Guardian, "The actor claimed he feared for his life after the notorious 'Black Friday' bombings, which were allegedly staged by Mumbai's Muslim-dominated mafia in retaliation for deadly Hindu-Muslim clashes a few months earlier. But the judge rejected this defence and also refused bail." Dutt was returned to at the Arthur Road Jail and soon after moved to the Yerawada Central Jail in Pune. Dutt appealed against the sentence and was granted interim bail on 20 August 2007 until such time as the TADA court provided him with a copy of its judgement. On 22 October 2007 Dutt was back in jail but again applied for bail. On 27 November 2007, Dutt was granted bail by the Supreme Court. On 21 March 2013 the Supreme Court upheld the verdict but shortened the sentence to five years' imprisonment. Dutt was given a month to surrender before the authorities.
Dutt has said that "I am not a politician but I belong to a political family." He was persuaded by a close friend to contest the 2009 Lok Sabha elections as a candidate for the Samajwadi Party, but withdrew when the court refused to suspend his conviction. He was then appointed General Secretary of the Samajwadi Party, leaving that post in December 2010. In March 2013 the Supreme Court upheld Dutt's five-year sentence, 18 months of which he already spent in jail during the trial. He was given four weeks to surrender to the authorities, the court having refused to release him on probation due to the severity of the offence.
On 10 May, the Supreme Court rejected Dutt's review petition for the reconsideration of his conviction and asked him to surrender on the stipulated date. on 14 May, Dutt withdrew the mercy plea and surrendered to the Mumbai Police on 16 May 2013. Just before the surrender, the Mumbai jail authority got an anonymous letter threatening Dutt's life. Dutt filed an appeal to allow him to surrender before entering Yerwada Central Jail. Later, Dutt withdrew this request too. He was paroled from 21 December 2013. The parole was extended three times until March 2014, raising concern in Bombay High Court and a proposal from the Government of Maharashtra to amend the law of parole. He returned to Yerwada Central Jail after his parole ended. Dutt was out on a two weeks' furlough granted by the Yerwada Central Jail authorities on 24 December. He was subsequently incarcerated in Yerwada Central Jail, to complete his jail term. He was released from there on 25 February 2016 after serving his sentence.
Health issues
Dutt was diagnosed with stage 3 lung cancer in August 2020. He did his treatment in Mumbai and now recovered from lung cancer.
In popular culture
The author Yasser Usman published a biographical book on Dutt, titled Sanjay Dutt: The Crazy Untold Story of Bollywood's Bad Boy, in 2018.
A film based on his life, Sanju, in which Ranbir Kapoor portrays the role of Dutt.
In 2021, Punjabi Singer from Brampton, Sidhu Moose Wala had also made a song Sanju, comparing his AK-47 possession and firing case with Sanjay Dutt.
Bibliography
References
External links
Male actors in Hindi cinema
Living people
1959 births
Filmfare Awards winners
Indian male child actors
Indian male singers
Lawrence School, Sanawar alumni
Politicians from Mumbai
Samajwadi Party politicians
Male actors from Mumbai
Film producers from Mumbai
Indian actor-politicians
Bigg Boss
Indian game show hosts
Punjabi people
20th-century Indian male actors
21st-century Indian male actors
Indian male comedians
Hindi film producers
Indian criminals
Indian Hindus | true | [
"During the Russian Civil War, the Soviet government allowed a variety of small arms and bladed weapons. Afterwards, the government made immediate alterations for those on whom it did not rely. The government had made it a point to \"arm the working people\" in the Declaration of the Rights of Working and Exploited People in January 1918. The December decree of the CPC of 1918, \"On the surrender of weapons\", ordered people to surrender any firearms, swords, bayonets and bombs, regardless of the degree of serviceability. The penalty for not doing so was ten years' imprisonment. Members of the Communist Party were allowed to have a single weapon (a pistol or a rifle) and possession of the weapon was recorded in the party membership book. The assassination of Stalin's ally Sergey Kirov by Leonid Nikolaev in 1934 was possible because of this, as Nikolaev was allowed to have a revolver.\n\nOn December 12, 1924, the Central Executive Committee of the USSR promulgated its degree \"On the procedure of production, trade, storage, use, keeping and carrying firearms, firearm ammunition, explosive projectiles and explosives\", all weapons were classified and divided into categories. Now the weapons permitted for personal possession by ordinary citizens could only be smoothbore hunting shotguns. The other category of weapons were only possessed by those who were put on duty by the Soviet state; for all others, access to these weapons was restricted to within state-regulated shooting ranges. Illegal gun possession was severely punished. Since March 1933 the manufacture, possession, purchase, sale of firearms (except for smoothbore) hunting weapons without proper authorization was punishable by up to five years in prison. In 1935, the same penalty was imposed for possession of knives. During the Great Patriotic War, the civilian population had to hand over all the personal hunting weapons to the Red Army for defence against the German invasion. The same was true for weapons left by retreating German invaders in the war. They were to be surrendered to Red Army troops, the NKVD or local Soviet authorities within 24 hours. Cases of stolen weapons were also brought to criminal justice.\n\nAfter the death of Joseph Stalin in 1953, the USSR saw a small wave of liberalisations for civilian gun ownership. Soviet civilians were allowed to purchase smoothbore hunting shotguns again, even without mandatory submission of hunting licenses. However, this lasted for not more than six years. The buyer again had to pre-register in the Soviet Society of Hunters since 1959. With the introduction of the new Criminal Code in 1960, penalties were softened significantly for illegal possession of firearms to only up to two years of imprisonment, while the possession of melee weapons was no longer prohibited in the Soviet Union. \n\nFourteen years later the punishment for illegal purchase, keeping and carrying of weapons was increased again to five years' imprisonment. However, voluntarily surrendered unregistered rifles were met without responsibility or punishment.\n\nSee also\nGun control in Russia\n\nReferences\n\nSources\n \n \n\nSoviet Union\nSoviet law",
"Samuela Matakibau is a former Fijian police officer, who held the position of Assistant Police Commissioner Operations.\n\nOn 28 January 2007, Matakibau was arrested by the Republic of Fiji Military Forces for alleged firearms offences. This followed a Military raid on his which allegedly uncovered illegal firearms. He was released, pending further investigations. Land Force Commander Colonel Pita Driti said that illegal possession of weapons was only one of a number of misbehaviours for which Matakibau had been under investigation for some time. He was taken back into custody on 30 January.\n\nThe Military said on 31 January that it was investigating evidence that Matakibau had stolen the weapons from the armoury of the Police Tactical Response Unit. Military spokesman Major Neumi Leweni said that Matakibau was responsible for his own detention, as he had earlier deceived the Military by denying that he was in possession of any weapons. He was released on 1 February, but remained on indefinite leave.\n\nYear of birth missing (living people)\nLiving people\nFijian police officers\nI-Taukei Fijian people"
]
|
[
"Sanjay Dutt",
"2007-2009",
"Did Sanjay Dutt star in any major films in 2007?",
"I don't know.",
"Did Sanjay Dutt act in any films between 2007 and 2009?",
"I don't know.",
"What did Sanjay Dutt do between 2007 and 2009?",
"On 31 July 2007, the TADA court sentenced Dutt to six years' rigorous imprisonment for illegal possession of weapons",
"Did he serve his entire sentence?",
"Dutt appealed against the sentence and was granted interim bail on 20 August 2007",
"Did he make any comments about the case?",
"On 22 October 2007 Dutt was back in jail but again applied for bail.",
"Is anything else interesting about the article?",
"On 21 March 2013 the Supreme Court upheld the verdict of the TADA court but shortened the sentence to five years' imprisonment.",
"Why was he in illegal possession of weapons?",
"Abdul Qayyum Abdul Karim Shaikh, who was thought to be a close aide of the terrorists' ringleader,"
]
| C_656b9bc145184e728cf2fcded320f03f_0 | Did he have any drug problems during the timeframe? | 8 | Did Sanjay Dutt have any drug problems during 2007-2009? | Sanjay Dutt | Abdul Qayyum Abdul Karim Shaikh, who was thought to be a close aide of the terrorists' ringleader, Dawood Ibrahim, was arrested. Dutt had given Qayuum's name to the police when confessing to arms possession, saying that in September 1992 he had bought a pistol from Qayuum in Dubai. On 31 July 2007, the TADA court sentenced Dutt to six years' rigorous imprisonment for illegal possession of weapons and cleared him of charges relating to the Mumbai blasts. According to The Guardian, "The actor claimed he feared for his life after the notorious "Black Friday" bombings, which were allegedly staged by Mumbai's Muslim-dominated mafia in retaliation for deadly Hindu-Muslim clashes a few months earlier. But the judge rejected this defence and also refused bail." Dutt was returned to jail at Arthur Road and soon after moved to the Yerwada Central Jail in Pune. Dutt appealed against the sentence and was granted interim bail on 20 August 2007 until such time as the TADA court provided him with a copy of its judgement. On 22 October 2007 Dutt was back in jail but again applied for bail. On 27 November 2007, Dutt was granted bail by the Supreme Court. On 21 March 2013 the Supreme Court upheld the verdict of the TADA court but shortened the sentence to five years' imprisonment. Dutt was given a month to surrender before the authorities. Dutt has said that "I am not a politician but I belong to a political family." He was persuaded by a close friend to contest the 2009 Lok Sabha elections as a candidate for the Samajwadi Party but withdrew when the court refused to suspend his conviction. He was then appointed General Secretary of the party, leaving that post in December 2010. CANNOTANSWER | CANNOTANSWER | Sanjay Balraj Dutt (born 29 July 1959) is an Indian actor who works in Hindi films. He is the recipient of several awards, including two Filmfare Awards and three Screen Awards. Dutt acted in 187 films, ranging from romance to comedy genres, but is usually typecast in action genres, and established himself as one of the most popular Hindi film actors of the later 1980s, 1990s, 2000s, and 2010s.
The son of actors Sunil Dutt and Nargis, Dutt made his acting debut in Rocky (1981), which was directed by his father. The crime thriller Naam (1985) proved to be a turning point in his career, which was followed by a series of commercially successful films in that decade, including Jeete Hain Shaan Se (1988), Mardon Wali Baat (1988), Ilaaka (1989), Hum Bhi Insaan Hain (1989) and Kanoon Apna Apna (1989). He earned nominations for the Filmfare Award for Best Actor for Saajan (1991) and Khalnayak (1993). Dutt earned his first Best Actor at the ceremony for playing a common man-turned-gangster in Vaastav: The Reality (1999). Along with Vaastav: The Reality, he also won accolades for playing an army officer in Mission Kashmir (2001), a soft-hearted goofy gangster in Munna Bhai M.B.B.S. (2003) and its sequel Lage Raho Munna Bhai (2006).
Dutt was arrested under the TADA and the Arms Act in April 1993 and was convicted for violation of Arms Act for possession of illegal weapons procured from other accused in the 1993 Bombay bombings. After serving his sentence, he was released in 2016. Dutt's life receives considerable media coverage in India, and in 2018, Sanju, a biopic based on his life (which also saw a special appearance by him), was released to positive reviews and emerged as one of the highest-grossers of Indian cinema.
Early life
Dutt was born on 29th July, 1959 in Bombay to noted cinema actors Sunil Dutt and Nargis. He has two sisters, Priya Dutt and Namrata Dutt. Sanjay's name was chosen by crowdsourcing via the Urdu language film magazine Shama. His mother died in 1981, shortly before his debut film's premiere; her death is cited as the instigator of his drug abuse. As a child actor, Dutt appeared briefly as a qawali singer in the 1972 film Reshma Aur Shera, which starred his father.
Career
Early career and breakthrough (1981–1993)
Dutt made his Bollywood movie debut with the box-office super hit Rocky in 1981. Dutt then went on to star in Vidhaata, the highest-grossing Hindi film of 1982, along with film veterans Dilip Kumar, Shammi Kapoor and Sanjeev Kumar. He also starred in movies like Main Awara Hoon (1983). In 1985 he shot Jaan Ki Baazi, his first film in two years.
The 1986 film Naam was a turning point in Dutt's career, it was a major commercial and critical success. Dutt appeared in successful films throughout the '80s such as Imaandaar, Inaam Dus Hazaar, Jeete Hain Shaan Se (1988), Mardon Wali Baat (1988), Ilaaka (1989), Hum Bhi Insaan Hain (1989), Kanoon Apna Apna (1989) and Taaqatwar.
His performances in both Kabzaa (1988) and J. P. Dutta's 1989 Hathyar were both well received by critics although both films only managed average collections at the box office. In the late 1980s he was seen in a number of multi-starrers alongside leading actors like Govinda, Mithun, Dharmendra, Jackie Shroff and Sunny Deol.
His successes continued in the 1990s, with films that include Tejaa, Khatarnaak, Zahreelay, Thanedaar, Khoon Ka Karz, Yalgaar, Gumrah, Sahibaan and Aatish: Feel the Fire. He went on to star in some of the most era-defining Indian films of the early 1990s such as Sadak, Saajan (for which he was nominated for the Filmfare Best Actor Award) and Khalnayak, for which he earned his second Filmfare Best Actor Award nomination.
The Hindu wrote that "Sanjay's earlier films (like Naam and Sadak) got him a lot of favourable attention." and "Saajan established Sanjay Dutt as the conventional soft hero."Saajan was the highest-grossing Bollywood film of 1991, and Sadak was the fifth highest grosser of 1991. Khalnayak became a blockbuster and was the second-highest grosser of 1993. This was followed by another box office success Gumrah, this was Dutt's second consecutive hit of the year.
Arrest due to involvement in 1993 serial bombings, films after arrest (1993 - 1999)
Bombay (now Mumbai) suffered a series of serial bombings in 1993. Dutt was among several people associated with Bollywood who were accused of involvement. It was alleged that Dutt accepted a delivery of weapons at his house from Abu Salem and co-accused Riyaz Siddiqui, who had also been implicated in relation to the Mumbai blasts. It was claimed that the weapons formed a part of a large consignment of arms connected to the terrorists. Dutt, however, in his confession stated that he took only one Type-56 from the producers of his movie Sanam, for his own family protection. It has also been reported that Sanjay Dutt's father Sunil Dutt's political rivalry caused Sanjay Dutt's conviction.. Dutt's first film after his 1993 arrest was Daud (1997). It did average business at the box office despite getting a lot of publicity. This was followed by Dushman which did well financially.
Comeback (1999 – 2003)
1999 was an excellent year for Dutt and one that is regarded as his comeback, with all of his five releases being amongst the highest-grossing films of that year. He began it by starring in the Mahesh Bhatt-directed film Kartoos, followed by Khoobsurat, Haseena Maan Jaayegi, Daag: The Fire and Vaastav: The Reality, for which he won many awards, including his first Filmfare Best Actor Award. His role in 2000's Mission Kashmir won him critical acclaim and a number of awards and nominations. Dutt was also invited by the President of India to Rashtrapati Bhavan for his performance in the movie.
Breakthrough with Munna Bhai M.B.B.S., prolonged success (2003 - present)
As the decade went on, he continued to play lead roles in popular and critical successes such as Jodi No.1 (2001), Pitaah (2002), Kaante (2002) and the National Award-winning film Munna Bhai M.B.B.S. (2003), which garnered him several awards. At the box office Munna Bhai M.B.B.S. achieved a silver jubilee status (25-week run) being one of only eight films to have achieved this status since the year 2000. In its 26th week of release, the film could still be found playing on 257 screens throughout India. Later successes came with Musafir (2004), Plan (2004), Parineeta (2005) and Dus (2005). He won critical acclaim for his performances in Shabd (2005) and Zinda.
The sequel of Munna Bhai M.B.B.S., Lage Raho Munna Bhai was released in late 2006. Dutt received a number of awards for his performance in the film, along with an award from the Prime Minister Manmohan Singh for his work in the Munna bhai series. NDTV India counted the character Munna Bhai as one of top 20 fictional characters in Bollywood. Later Dutt starred in movies like Dhamaal (2007), Shootout at Lokhandwala (2007), All the Best (2009), Double Dhamaal (2011), Son of Sardaar (2012) Agneepath (2012) and PK.
In January 2008, the Indian film Institute Filmfare listed 12 films featuring Dutt in its list of top 100 highest-grossing movies of all time. In its May 2013 edition "100 years of Indian cinema" Filmfare listed three films featuring Dutt in its top 20 list of highest-grossing Hindi films of all time, adjusted for inflation these films were Lage Raho Munna Bhai, Khalnayak and Saajan.
Vidhu Vinod Chopra on 29 September 2016 announced that the third part of Munna Bhai series, starring Dutt in the title role, would begin soon. In 2017, Dutt appeared as the lead in Bhoomi, directed by Omung Kumar. In 2018, he starred in Saheb, Biwi Aur Gangster 3. In 2018, it was also announced that Dutt would feature alongside Ranbir Kapoor and Vaani Kapoor in Shamshera, which will release on 31 July 2020. On 29 June 2018, his biopic Sanju released in which he made a special appearance. Dutt and Alia Bhatt are currently shooting for Sadak 2. In 2019, he joined the cast of historical film Bhuj: The Pride of India, which will feature an ensemble cast consisting of Ajay Devgn, Sonakshi Sinha and Parineeti Chopra. He was seen in the film Prassthanam on 20 September 2019.
Dutt is currently working as the main antagonist on K.G.F: Chapter 2, the sequel to the blockbuster Kannada film, K.G.F: Chapter 1, marking his debut in Kannada cinema. Sanjay Dutt will now appear in films like Shamshera, RRR and Prithviraj.
Off-screen work
Dutt co-hosted the fifth season of the Indian reality show Bigg Boss along with Salman Khan. The show aired on Colors television from 2 October 2011 to 7 January 2012. Dutt later said it was Khan who persuaded him to co-host the show. Dutt and entrepreneur Indian Premier League cricket team owner Raj Kundra together launched India's first professionally organised mixed martial arts league—the Super Fight League—on 16 January 2012.
Personal life and media image
In the early 1980s, Dutt had a relationship with his co-star from his first film, Tina Munim. After this relationship ended, Dutt married actress Richa Sharma in 1987. She died of a brain tumour in 1996. The couple have a daughter, Trishala Dutt, born in 1988, who lives in the United States with her maternal grandparents.
Dutt's second marriage was to air-hostess-turned-model Rhea Pillai in February 1998. The divorce finalised in 2008. Dutt married Manyata (born Dilnawaz Sheikh) first registered in Goa in 2008 and then, in a Hindu ceremony in Mumbai, after two years of dating. On 21 October 2010, he became a father to twins, a boy and a girl.
He is a devout Shaiva Hindu who has read holy scriptures and theological works.
Bombay (now Mumbai) suffered a series of serial bombings in 1993. Dutt was among several people associated with Bollywood who were accused of involvement. It was alleged that Dutt accepted a delivery of weapons at his house from Abu Salem and co-accused Riyaz Siddiqui, who had also been implicated in relation to the Mumbai blasts. It was claimed that the weapons formed a part of a large consignment of arms connected to the terrorists. Dutt, however, in his confession stated that he took only one Type-56 from the producers of his movie Sanam, for his own family protection. It has also been reported that Sanjay Dutt's father Sunil Dutt's political rivalry caused Sanjay Dutt's conviction.
In April 1993, after initial reporting by Baljeet Parmar on Dutt's possession of the AK-56, he was arrested under the provisions of the Terrorist and Disruptive Activities (Prevention) Act (TADA). Dutt was granted bail by the Supreme Court of India on 5 May 1993; however, on 4 July 1994 his bail was cancelled and he was re-arrested. On 16 October 1995 he was granted bail. Abdul Qayyum Abdul Karim Shaikh, who was thought to be a close aide of the terrorists' ringleader, Dawood Ibrahim, was arrested. Dutt had given Qayuum's name to the police when confessing to arms possession, saying that in September 1992 he had bought a pistol from Qayuum in Dubai. His arrest coincided with the release of his film, Khalnayak, in which he played a wanted criminal. The film's major success was in part due to Dutt's off-screen legal controversy.
On 31 July 2007, Dutt was cleared of the charges relating to the Mumbai blast; however, the TADA court sentenced Dutt to six years' rigorous imprisonment under Arms act for illegal possession of weapons. According to The Guardian, "The actor claimed he feared for his life after the notorious 'Black Friday' bombings, which were allegedly staged by Mumbai's Muslim-dominated mafia in retaliation for deadly Hindu-Muslim clashes a few months earlier. But the judge rejected this defence and also refused bail." Dutt was returned to at the Arthur Road Jail and soon after moved to the Yerawada Central Jail in Pune. Dutt appealed against the sentence and was granted interim bail on 20 August 2007 until such time as the TADA court provided him with a copy of its judgement. On 22 October 2007 Dutt was back in jail but again applied for bail. On 27 November 2007, Dutt was granted bail by the Supreme Court. On 21 March 2013 the Supreme Court upheld the verdict but shortened the sentence to five years' imprisonment. Dutt was given a month to surrender before the authorities.
Dutt has said that "I am not a politician but I belong to a political family." He was persuaded by a close friend to contest the 2009 Lok Sabha elections as a candidate for the Samajwadi Party, but withdrew when the court refused to suspend his conviction. He was then appointed General Secretary of the Samajwadi Party, leaving that post in December 2010. In March 2013 the Supreme Court upheld Dutt's five-year sentence, 18 months of which he already spent in jail during the trial. He was given four weeks to surrender to the authorities, the court having refused to release him on probation due to the severity of the offence.
On 10 May, the Supreme Court rejected Dutt's review petition for the reconsideration of his conviction and asked him to surrender on the stipulated date. on 14 May, Dutt withdrew the mercy plea and surrendered to the Mumbai Police on 16 May 2013. Just before the surrender, the Mumbai jail authority got an anonymous letter threatening Dutt's life. Dutt filed an appeal to allow him to surrender before entering Yerwada Central Jail. Later, Dutt withdrew this request too. He was paroled from 21 December 2013. The parole was extended three times until March 2014, raising concern in Bombay High Court and a proposal from the Government of Maharashtra to amend the law of parole. He returned to Yerwada Central Jail after his parole ended. Dutt was out on a two weeks' furlough granted by the Yerwada Central Jail authorities on 24 December. He was subsequently incarcerated in Yerwada Central Jail, to complete his jail term. He was released from there on 25 February 2016 after serving his sentence.
Health issues
Dutt was diagnosed with stage 3 lung cancer in August 2020. He did his treatment in Mumbai and now recovered from lung cancer.
In popular culture
The author Yasser Usman published a biographical book on Dutt, titled Sanjay Dutt: The Crazy Untold Story of Bollywood's Bad Boy, in 2018.
A film based on his life, Sanju, in which Ranbir Kapoor portrays the role of Dutt.
In 2021, Punjabi Singer from Brampton, Sidhu Moose Wala had also made a song Sanju, comparing his AK-47 possession and firing case with Sanjay Dutt.
Bibliography
References
External links
Male actors in Hindi cinema
Living people
1959 births
Filmfare Awards winners
Indian male child actors
Indian male singers
Lawrence School, Sanawar alumni
Politicians from Mumbai
Samajwadi Party politicians
Male actors from Mumbai
Film producers from Mumbai
Indian actor-politicians
Bigg Boss
Indian game show hosts
Punjabi people
20th-century Indian male actors
21st-century Indian male actors
Indian male comedians
Hindi film producers
Indian criminals
Indian Hindus | false | [
"During the administration of American President Gerald Ford (1974–1977), the president moderated the strict anti-cannabis stance of his predecessor, resigned president Richard Nixon, though this did not result in any significant weakening of federal cannabis policy. In contrast with Nixon's harsh policies, Ford advocated instead reducing the harms associated with drug use. Ford struck a more conciliatory tone, identifying drug users as victims of traffickers, rather than criminals.\n\nPresidency\nFord retained White House \"Drug Czar\" Robert DuPont, originally appointed by Nixon. Unlike Nixon, Ford did not support the formation of an office of drug policy, however in 1976 he did not veto the amendment to create the Office of Drug Abuse Policy, though he failed to staff the office.\n\nIn 1975, Ford was questioned about his stance regarding decriminalization of cannabis, replying:\n\n1976 campaign\nWhile running against Jimmy Carter in the 1975 presidential election, Ford took a harder line against cannabis use, rejecting the findings of the 1975 The White Paper on Drug Abuse. Following his loss to Carter, in his remaining lame duck presidency, Ford again modified his position, and supported the White Paper's position that more dangerous drugs should be combated while cannabis use should be a lower enforcement priority.\n\nPersonal life\nIn his own family life, Ford confronted issues of drug use, particularly that of his wife Betty Ford who was later hospitalized for addiction to alcohol and opiates. In a 1975 interview, Betty Ford said of her children \"I'm sure they've all tried marijuana,\" which was confirmed in October 1975 when Jack Ford publicly stated that he had tried marijuana, and downplayed any concerns regarding the drug. In response, Gerald Ford stated that while he did not approve of cannabis use, it was a \"very honorable thing\" for Jack to admit to its use, despite it being \"not a healthy thing to have.\"\n\nReferences\n\nFord\nPresidency of Gerald Ford",
"The Pharmacovigilance Programme of India (PvPI) is an Indian government organization which identifies and responds to drug safety problems. Its activities include receiving reports of adverse drug events and taking necessary action to remedy problems. The Central Drugs Standard Control Organisation established the program in July 2010 with All India Institute of Medical Sciences, New Delhi as the National Coordination Centre, which later shifted to Indian Pharmacopoeia Commission in Ghaziabad on 15 April 2011.\n\nHistory\nMany developed countries set up their pharmacovigilance programs following the Thalidomide scandal in the 1960s. India set up its program in the 1980s. This general concept of drug safety monitoring went through different forms, but the Central Drugs Standard Control Organisation established the present Pharmacovigilance Program of India in 2010. Now the program is well integrated with government legislation, a regulator as leader, and a research center as part of the Indian Pharmacopoeia Commission.\n\nActivities\nAs of 2018 there were 250 centers around India capable of responding to reports of serious adverse reactions. One of the challenges of the organization is training doctors and hospitals to report adverse drug reactions when patients have them. The Pharmacovigilance Program makes these reports itself, but ideally, such reports could originate from any clinic. The Pharmacovigilance Programme seeks to encourage a culture and social expectation of reporting drug problems.\n\nOne of the successes of the program was detecting adverse effects of people in India using carbamazepine. While this drug is safer among people native to the Europe, people of South Asia have different genetics and are more likely to experience problems when using it. Other countries could not have been able to detect this problem, and the Pharmacovigilance Programme's detection of it was a success story.\n\nCollaboration\nThe establishment of the Pharmacovigilance Program made India a more attractive international destination for foreign companies to bring clinical trials research. Understanding the quality of India's pharmacovigilance programme is key to international researchers conducting trials in India.\n\nThe program collaborates both in India and internationally with the World Health Organization on projects for safe medication. As a collaborating center, the Pharmacovigilance Programme assists the WHO in developing international policy for other countries to manage their own drug safety programs.\n\nWhile the United States and Europe have pharmacovigilance systems which are developed well in some ways, the Indian programme has more and specialized expertise to apply for the unique circumstances of India. The Pharmaceutical industry in India produces more drugs than any other national industry. Because of the large amount of drugs and the many countries which import them, the Indian program monitors in some ways more than anywhere else.\n\nReferences\n\nExternal links\n\nDrug safety\nPharmaceuticals policy\nMedical and health organisations based in India\nNational agencies for drug regulation\nRegulators of biotechnology products\nRegulatory agencies of India\nMinistry of Health and Family Welfare"
]
|
[
"Joy Division",
"Sound"
]
| C_ded68eb0791c4dab8b6f4f32688dbb63_1 | What was their style of sound? | 1 | What was Joy Division style of sound? | Joy Division | Joy Division's style quickly evolved from their punk roots. Their sound during their early inception as Warsaw was described as generic and "undistinguished punk-inflected hard-rock". Critic Simon Reynolds observed how the band's originality only "really became apparent as the songs got slower", and their music took on a "sparse" quality. According to Reynolds, "Hook's bass carried the melody, Bernard Sumner's guitar left gaps rather than filling up the group's sound with dense riffage and Steve Morris' drums seemed to circle the rim of a crater." According to music critic Jon Savage, "Joy Division were not punk but they were directly inspired by its energy". In 1994 Sumner said the band's characteristic sound "came out naturally: I'm more rhythm and chords, and Hooky was melody. He used to play high lead bass because I liked my guitar to sound distorted, and the amplifier I had would only work when it was at full volume. When Hooky played low, he couldn't hear himself. Steve has his own style which is different to other drummers. To me, a drummer in the band is the clock, but Steve wouldn't be the clock, because he's passive: he would follow the rhythm of the band, which gave us our own edge." By Closer, Curtis had adapted a low baritone voice, drawing comparisons to Jim Morrison of the Doors (one of Curtis's favourite bands). Sumner largely acted as the band's director, a role he continued in New Order. While Sumner was the group's primary guitarist, Curtis played the instrument on a few recorded songs and during a few shows. Curtis hated playing guitar, but the band insisted he do so. Sumner said, "He played in quite a bizarre way and that to us was interesting, because no one else would play like Ian". During the recording sessions for Closer, Sumner began using self-built synthesisers and Hook used a six-string bass for more melody. Hannett "dedicated himself to capturing and intensifying Joy Division's eerie spatiality". Hannett believed punk rock was sonically conservative because of its refusal to use studio technology to create sonic space. The producer instead aimed to create a more expansive sound on the group's records. Hannett said, "[Joy Division] were a gift to a producer, because they didn't have a clue. They didn't argue". Hannett demanded clean and clear "sound separation" not only for individual instruments, but even for individual pieces of Morris's drumkit. Morris recalled, "Typically on tracks he considered to be potential singles, he'd get me to play each drum on its own to avoid any bleed-through of sound". Music journalist Richard Cook noted that Hannett's role was "crucial". There are "devices of distance" in his production and "the sound is an illusion of physicality". CANNOTANSWER | punk-inflected hard-rock | Joy Division were an English rock band formed in Salford in 1976. The group consisted of vocalist Ian Curtis, guitarist/keyboardist Bernard Sumner, bassist Peter Hook and drummer Stephen Morris.
Sumner and Hook formed the band after attending a Sex Pistols concert. While Joy Division's first recordings were heavily influenced by early punk, they soon developed a sparse sound and style that made them one of the pioneers of the post-punk movement. Their self-released 1978 debut EP An Ideal for Living drew the attention of the Manchester television personality Tony Wilson, who signed them to his independent label Factory Records. Their debut album Unknown Pleasures, recorded with producer Martin Hannett, was released in 1979.
Curtis suffered from personal problems and health conditions, including a failing marriage, depression, and epilepsy. As the band's popularity grew, Curtis's condition made it increasingly difficult for him to perform; he occasionally experienced seizures on stage. He died by suicide on the eve of the band's first US/Canada tour in May 1980, aged 23. Joy Division's second and final album, Closer, was released two months later; it and the single "Love Will Tear Us Apart" became their highest charting releases.
The remaining members regrouped under the name New Order. They were successful throughout the next decade, blending post-punk with electronic and dance music influences.
History
Formation
On 4 June 1976, childhood friends Bernard Sumner and Peter Hook separately attended a Sex Pistols show at the Manchester Lesser Free Trade Hall. Both were inspired by the Pistols' performance. Sumner said that he felt the Pistols "destroyed the myth of being a pop star, of a musician being some kind of god that you had to worship". The following day Hook borrowed £35 from his mother to buy a bass guitar. They formed a band with Terry Mason, who had also attended the gig; Sumner bought a guitar, and Mason a drum kit. After their schoolfriend Martin Gresty declined an invitation to join as vocalist after getting a job at a factory, the band placed an advertisement for a vocalist in the Manchester Virgin Records shop. Ian Curtis, who knew them from earlier gigs, responded and was hired without audition. Sumner said that he "knew he was all right to get on with and that's what we based the whole group on. If we liked someone, they were in."
Buzzcocks manager Richard Boon and frontman Pete Shelley have both been credited with suggesting the band name "Stiff Kittens", but the band settled on "Warsaw" shortly before their first gig, a reference to David Bowie's song "Warszawa". Warsaw debuted on 29 May 1977 at the Electric Circus, supporting the Buzzcocks, Penetration and John Cooper Clarke. Tony Tabac played drums that night after joining the band two days earlier. Reviews in the NME by Paul Morley and in Sounds by Ian Wood brought them immediate national exposure. Mason became the band's manager and Tabac was replaced on drums in June 1977 by Steve Brotherdale, who also played in the punk band The Panik. Brotherdale tried to get Curtis to leave the band and join The Panik, and even had Curtis audition. On 18 July 1977, Warsaw recorded five demo tracks at Pennine Sound Studios, Oldham. Uneasy with Brotherdale's aggressive personality, the band fired him soon after the sessions: driving home from the studio, they pulled over and asked Brotherdale to check on a flat tyre; when he got out of the car, they drove off.
In August 1977, Warsaw placed an advertisement in a music shop window seeking a replacement drummer. Stephen Morris, who had attended the same school as Curtis, was the sole respondent. Deborah Curtis, Ian's wife, stated that Morris "fitted perfectly" with the band, and that with his addition Warsaw became a "complete 'family. To avoid confusion with the London punk band Warsaw Pakt, the band renamed themselves Joy Division in early 1978, borrowing the name from the sexual slavery wing of a Nazi concentration camp mentioned in the 1955 novel House of Dolls. On 14 December, the group recorded their debut EP, An Ideal for Living, at Pennine Sound Studio and played their final gig as Warsaw on New Year's Eve at the Swinging Apple in Liverpool. Billed as Warsaw to ensure an audience, the band played their first gig as Joy Division on 25 January 1978 at Pip's Disco in Manchester.
Early releases
Joy Division were approached by RCA Records to record a cover of Nolan "N.F." Porter's "Keep on Keepin' On" at a Manchester recording studio. The band spent late March and April 1978 writing and rehearsing material. During the Stiff/Chiswick Challenge concert at Manchester's Rafters club on 14 April, they caught the attention of music producer Tony Wilson and manager Rob Gretton. Curtis berated Wilson for not putting the group on his Granada Television show So It Goes; Wilson responded that Joy Division would be the next band he would showcase on TV. Gretton, the venue's resident DJ, was so impressed by the band's performance that he convinced them to take him on as their manager. Gretton, whose "dogged determination" was later credited for much of the band's public success, contributed the business skills to provide Joy Division with a better foundation for creativity. Joy Division spent the first week of May 1978 recording at Manchester's Arrow Studios. The band were unhappy with the Grapevine Records head John Anderson's insistence on adding synthesiser into the mix to soften the sound, and asked to be dropped from the contract with RCA.
Joy Division made their recorded debut in June 1978 when the band self-released An Ideal for Living, and two weeks later their track "At a Later Date" was featured on the compilation album Short Circuit: Live at the Electric Circus (which had been recorded live in October 1977). In the Melody Maker review, Chris Brazier said that it "has the familiar rough-hewn nature of home-produced records, but they're no mere drone-vendors—there are a lot of good ideas here, and they could be a very interesting band by now, seven months on". The packaging of An Ideal for Living—which featured a drawing of a Hitler Youth member on the cover—coupled with the nature of the band's name fuelled speculation about their political affiliations. While Hook and Sumner later said they were intrigued by fascism at the time, Morris believed that the group's dalliance with Nazi imagery came from a desire to keep memories of the sacrifices of their parents and grandparents during World War II alive. He argued that accusations of neo-Nazi sympathies merely provoked the band "to keep on doing it, because that's the kind of people we are".
In September 1978, Joy Division made their television debut performing "Shadowplay" on So It Goes, with an introduction by Wilson. In October, Joy Division contributed two tracks recorded with producer Martin Hannett to the compilation double-7" EP A Factory Sample, the first release by Tony Wilson's record label, Factory Records. In the NME review of the EP, Paul Morley praised the band as "the missing link" between Elvis Presley and Siouxsie and the Banshees. Joy Division joined Factory's roster, after buying themselves out of the RCA deal. Gretton was made a label partner to represent the interests of the band. On 27 December, during the drive home from gig at the Hope and Anchor in London, Curtis suffered his first recognised severe epileptic seizure and was hospitalised. Meanwhile, Joy Division's career progressed, and Curtis appeared on the 13 January 1979 cover of NME. That month the band recorded their session for BBC Radio 1 DJ John Peel. According to Deborah Curtis, "Sandwiched in between these two important landmarks was the realisation that Ian's illness was something we would have to learn to accommodate".
Unknown Pleasures and breakthrough
Joy Division's debut album, Unknown Pleasures, was recorded at Strawberry Studios, Stockport, in April 1979. Producer Martin Hannett significantly altered their live sound, a fact that greatly displeased the band at the time; however, in 2006, Hook said that in retrospect Hannett had done a good job and "created the Joy Division sound". The album cover was designed by Peter Saville, who went on to provide artwork for future Joy Division and New Order releases.
Unknown Pleasures was released in June and sold through its initial pressing of 10,000 copies. Wilson said the success turned the indie label into a true business and a "revolutionary force" that operated outside of the major record label system. Reviewing the album for Melody Maker, writer Jon Savage described the album as an "opaque manifesto" and declared it "one of the best, white, English, debut LPs of the year".
Joy Division performed on Granada TV again in July 1979, and made their only nationwide TV appearance in September on BBC2's Something Else. They supported the Buzzcocks in a 24-venue UK tour that began that October, which allowed the band to quit their regular jobs. The non-album single "Transmission" was released in November. Joy Division's burgeoning success drew a devoted following who were stereotyped as "intense young men dressed in grey overcoats".
Closer and health problems
Joy Division toured Europe in January 1980. Although the schedule was demanding, Curtis experienced only two grand mal seizures, both in the final two months of the tour. That March, the band recorded their second album, Closer, with Hannett at London's Britannia Row Studios. That month they released the "Licht und Blindheit" single, with "Atmosphere" as the A-side and "Dead Souls" as the B-side, on the French independent label Sordide Sentimental.
A lack of sleep and long hours destabilised Curtis's epilepsy, and his seizures became almost uncontrollable. He often had seizures during performances, which some audience members believed were part of the performance. The seizures left him feeling ashamed and depressed, and the band became increasingly worried about Curtis's condition. On 7 April 1980, Curtis attempted suicide by overdosing on his anti-seizure medication, phenobarbitone. The following evening, Joy Division were scheduled to play a gig at the Derby Hall in Bury. Curtis was too ill to perform, so at Gretton's insistence the band played a combined set with Alan Hempsall of Crispy Ambulance and Simon Topping of A Certain Ratio singing on the first few songs. When Topping came back towards the end of the set, some audience members threw bottles at the stage. Curtis's ill health led to the cancellation of several other gigs that April. Joy Division's final live performance was held at the University of Birmingham's High Hall on 2 May, and included their only performance of "Ceremony", one of the last songs written by Curtis.
Hannett's production has been widely praised. However, as with Unknown Pleasures, both Hook and Sumner were unhappy with the production. Hook said that when he heard the final mix of "Atrocity Exhibition" he was disappointed that the abrasiveness had been toned down. He wrote; "I was like, head in hands, 'Oh fucking hell, it's happening again ... Martin had fucking melted the guitar with his Marshall Time Waster. Made it sound like someone strangling a cat and, to my mind, absolutely killed the song. I was so annoyed with him and went in and gave him a piece of my mind but he just turned round and told me to fuck off."
Curtis' suicide and aftermath
Joy Division were scheduled to commence their first US/Canada tour in May 1980. Curtis had expressed enthusiasm about the tour, but his relationship with his wife, Deborah, was under strain; Deborah was excluded from the band's inner circle, and Curtis was having an affair with Belgian journalist and music promoter Annik Honoré, whom he met on tour in Europe in 1979. He was also anxious about how American audiences would react to his epilepsy.
The evening before the band were due to depart for America, Curtis returned to his Macclesfield home to talk to Deborah. He asked her to drop an impending divorce suit, and asked her to leave him alone in the house until he caught a train to Manchester the following morning. Early on 18 May 1980, having spent the night watching the Werner Herzog film Stroszek, Curtis hanged himself in his kitchen. Deborah discovered his body later that day when she returned.
The suicide shocked the band and their management. In 2005, Wilson said: "I think all of us made the mistake of not thinking his suicide was going to happen ... We all completely underestimated the danger. We didn't take it seriously. That's how stupid we were." Music critic Simon Reynolds said Curtis's suicide "made for instant myth". Jon Savage's obituary said that "now no one will remember what his work with Joy Division was like when he was alive; it will be perceived as tragic rather than courageous". In June 1980, Joy Division's single "Love Will Tear Us Apart" was released, which hit number thirteen on the UK Singles Chart. In July 1980, Closer was released, and peaked at number six on the UK Albums Chart. NME reviewer Charles Shaar Murray wrote, "Closer is as magnificent a memorial (for 'Joy Division' as much as for Ian Curtis) as any post-Presley popular musician could have."
Morris said that even without Curtis's death, it is unlikely that Joy Division would have endured. The members had made a pact long before Curtis's death that, should any member leave, the remaining members would change the band name. The band re-formed as New Order, with Sumner on vocals; they later recruited Morris's girlfriend Gillian Gilbert as keyboardist and second guitarist. Gilbert had befriended the band and played guitar at a Joy Division performance when Curtis had been unable to play.
New Order's debut single, "Ceremony" (1981), was formed from the last two songs written with Curtis. New Order struggled in their early years to escape the shadow of Joy Division, but went on to achieve far greater commercial success with a different, more upbeat and dance-orientated sound.
Various Joy Division outtakes and live material have been released. Still, featuring live tracks and rare recordings, was issued in 1981. Factory issued the Substance compilation in 1988, including several out-of-print singles. Permanent was released in 1995 by London Records, which had acquired the Joy Division catalogue after Factory's 1992 bankruptcy. A comprehensive box set, Heart and Soul, appeared in 1997.
Musical style
Sound
Joy Division took time to develop their style and quickly evolved from their punk roots. Their sound during their early inception as Warsaw was described as fairly generic and "undistinguished punk-inflected hard-rock". Critic Simon Reynolds observed how the band's originality only "really became apparent as the songs got slower", and their music took on a "sparse" quality. According to Reynolds, "Hook's bass carried the melody, Bernard Sumner's guitar left gaps rather than filling up the group's sound with dense riffage and Steve Morris' drums seemed to circle the rim of a crater." According to music critic Jon Savage, "Joy Division were not punk but they were directly inspired by its energy". In 1994 Sumner said the band's characteristic sound "came out naturally: I'm more rhythm and chords, and Hooky was melody. He used to play high lead bass because I liked my guitar to sound distorted, and the amplifier I had would only work when it was at full volume. When Hooky played low, he couldn't hear himself. Steve has his own style which is different to other drummers. To me, a drummer in the band is the clock, but Steve wouldn't be the clock, because he's passive: he would follow the rhythm of the band, which gave us our own edge." By Closer, Curtis had adapted a low baritone voice, drawing comparisons to Jim Morrison of the Doors (one of Curtis's favourite bands).
Sumner largely acted as the band's director, a role he continued in New Order. While Sumner was the group's primary guitarist, Curtis played the instrument on a few recorded songs and during a few shows. Curtis hated playing guitar, but the band insisted he do so. Sumner said, "He played in quite a bizarre way and that to us was interesting, because no one else would play like Ian". During the recording sessions for Closer, Sumner began using self-built synthesisers and Hook used a six-string bass for more melody.
Producer Martin Hannett "dedicated himself to capturing and intensifying Joy Division's eerie spatiality". Hannett believed punk rock was sonically conservative because of its refusal to use studio technology to create sonic space. The producer instead aimed to create a more expansive sound on the group's records. Hannett said, "[Joy Division] were a gift to a producer, because they didn't have a clue. They didn't argue". Hannett demanded clean and clear "sound separation" not only for individual instruments, but even for individual pieces of Morris's drumkit. Morris recalled, "Typically on tracks he considered to be potential singles, he'd get me to play each drum on its own to avoid any bleed-through of sound". Music journalist Richard Cook noted that Hannett's role was "crucial". There are "devices of distance" in his production and "the sound is an illusion of physicality".
Lyrics
Curtis was the band's sole lyricist, and he typically composed his lyrics in a notebook, independently of the eventual music to evolve. The music itself was largely written by Sumner and Hook as the group jammed during rehearsals. Curtis's imagery and word choice often referenced "coldness, pressure, darkness, crisis, failure, collapse, loss of control". In 1979, NME journalist Paul Rambali wrote, "The themes of Joy Division's music are sorrowful, painful and sometimes deeply sad." Music journalist Jon Savage wrote that "Curtis's great lyrical achievement was to capture the underlying reality of a society in turmoil, and to make it both universal and personal," while noting that "the lyrics reflected, in mood and approach, his interest in romantic and science-fiction literature." Critic Robert Palmer wrote that William S. Burroughs and J. G. Ballard were "obvious influences" to Curtis, and Morris also remembered the singer reading T. S. Eliot. Deborah Curtis also remembered Curtis reading works by writers such as Fyodor Dostoevsky, Friedrich Nietzsche, Jean-Paul Sartre, Franz Kafka, and Hermann Hesse.
Curtis was unwilling to explain the meaning behind his lyrics and Joy Division releases were absent of any lyric sheets. He told the fanzine Printed Noise, "We haven't got a message really; the lyrics are open to interpretation. They're multidimensional. You can read into them what you like." The other Joy Division members have said that at the time, they paid little attention to the contents of Curtis' lyrics. In a 1987 interview with Option, Morris said that they "just thought the songs were sort of sympathetic and more uplifting than depressing. But everyone's got their own opinion." Deborah Curtis recalled that only with the release of Closer did many who were close to the singer realise "[h]is intentions and feelings were all there within the lyrics". The surviving members regret not seeing the warning signs in Curtis's lyrics. Morris said that "it was only after Ian died that we sat down and listened to the lyrics...you'd find yourself thinking, 'Oh my God, I missed this one'. Because I'd look at Ian's lyrics and think how clever he was putting himself in the position of someone else. I never believed he was writing about himself. Looking back, how could I have been so bleedin' stupid? Of course he was writing about himself. But I didn't go in and grab him and ask, 'What's up?' I have to live with that".
Live performances
In contrast to the sound of their studio recordings, Joy Division typically played loudly and aggressively during live performances. The band were especially unhappy with Hannett's mix of Unknown Pleasures, which reduced the abrasiveness of their live sound for a more cerebral and ghostly sound. According to Sumner "the music was loud and heavy, and we felt that Martin had toned it down, especially with the guitars".
During their live performances, the group did not interact with the audience; according to Paul Morley, "During a Joy Division set, outside of the songs, you'll be lucky to hear more than two or three words. Hello and goodbye. No introductions, no promotion." Curtis would often perform what became known as his "'dead fly' dance", as if imitating a seizure; his arms would "start flying in [a] semicircular, hypnotic curve". Simon Reynolds noted that Curtis's dancing style was reminiscent of an epileptic fit, and that he was dancing in the manner for some months before he was diagnosed with epilepsy. Live performances became problematic for Joy Division, due to Curtis's condition. Sumner later said, "We didn't have flashing lights, but sometimes a particular drum beat would do something to him. He'd go off in a trance for a bit, then he'd lose it and have an epileptic fit. We'd have to stop the show and carry him off to the dressing room where he'd cry his eyes out because this appalling thing had just happened to him".
Influences
Sumner wrote that Curtis was inspired by artists such as the Doors, Iggy Pop, David Bowie, Kraftwerk, the Velvet Underground and Neu!. Hook has also related that Curtis was particularly influenced by Iggy Pop's stage persona. The group were inspired by Kraftwerk's "marriage between humans and machines", and the inventiveness of their electronic music. Joy Division played Trans-Europe Express through the PA before they went on stage, "to get a momentum". Bowie's "Berlin Trilogy" elaborated with Brian Eno, influenced them; the "cold austerity" of the synthesisers on the b-sides of Heroes and Low albums, was a "music looking at the future". Morris cited the "unique style" of Velvet Underground's Maureen Tucker and the motorik drum beats, from Neu! and Can. Morris also credited Siouxsie and the Banshees because their "first drummer Kenny Morris played mostly toms" and "the sound of cymbals was forbidden". Hook said that "Siouxsie and the Banshees were one of our big influences ... The way the guitarist and the drummer played was a really unusual way of playing". Hook drew inspiration from the style of bassist Jean-Jacques Burnel and his early material with the Stranglers; he also credited Carol Kaye and her musical basslines on early 1970s work of the Temptations. Sumner mentioned "the raw, nasty, unpolished edge" in the guitars of the Rolling Stones, the simple riff of "Vicious" on Lou Reed's Transformer, and Neil Young. His musical horizon went up a notch with Jimi Hendrix, he realised "it wasn't about little catchy tunes ... it was what you could do sonically with a guitar."
Legacy
Despite their short career, Joy Division have exerted a wide-reaching influence. John Bush of AllMusic argues that Joy Division "became the first band in the post-punk movement by ... emphasizing not anger and energy but mood and expression, pointing ahead to the rise of melancholy alternative music in the '80s."
Joy Division have influenced bands including their contemporaries the Cure and U2, to later acts such as Bloc Party, Editors, Interpol, The Proclaimers, and Soundgarden. In 1980, U2 singer Bono said that Joy Division were "one of the most important bands of the last four or five years". Rapper Danny Brown named his album Atrocity Exhibition after the Joy Division song, whose title was partially inspired by the 1970 J. G. Ballard collection of condensed novels of the same name. In 2005 both New Order and Joy Division were inducted into the UK Music Hall of Fame.
The band's dark and gloomy sound, which Martin Hannett described in 1979 as "dancing music with Gothic overtones", presaged the gothic rock genre. While the term "gothic" originally described a "doomy atmosphere" in music of the late 1970s, the term was soon applied to specific bands like Bauhaus that followed in the wake of Joy Division and Siouxsie and the Banshees. Standard musical fixtures of early gothic rock bands included "high-pitched post-Joy Division basslines usurp[ing] the melodic role" and "vocals that were either near operatic and Teutonic or deep, droning alloys of Jim Morrison and Ian Curtis."
Joy Division have been dramatised in two biopics. 24 Hour Party People (2002) is a fictionalised account of Factory Records in which members of the band appear as supporting characters. Tony Wilson said of the film, "It's all true, it's all not true. It's not a fucking documentary," and that he favoured the "myth" over the truth. The 2007 film Control, directed by Anton Corbijn, is a biography of Ian Curtis (portrayed by Sam Riley) that uses Deborah Curtis's biography of her late husband, Touching from a Distance (1995), as its basis. Control had its international premiere on the opening night of Director's Fortnight at the 2007 Cannes Film Festival, where it was critically well received. That year Grant Gee directed the band documentary Joy Division.
Band members
Ian Curtis – lead vocals, guitar, melodica (1976–1980)
Bernard Sumner – lead guitar, keyboards, backing vocals, bass (1976–1980)
Peter Hook – bass, backing vocals, guitar (1976–1980)
Terry Mason – drums (1976–1977)
Tony Tabac – drums (1977)
Steve Brotherdale – drums (1977)
Stephen Morris – drums, percussion (1977–1980)
Timeline
Discography
Unknown Pleasures (1979)
Closer (1980)
References
Works cited
Further reading
External links
1976 establishments in England
1980 disestablishments in England
English gothic rock groups
English post-punk music groups
English new wave musical groups
Enigma Records artists
Factory Records artists
Music in Salford
Musical groups disestablished in 1980
Musical groups established in 1976
Musical groups from Greater Manchester
Musical quartets
New Order (band)
Qwest Records artists
Virgin Records artists | true | [
"The Nashville Sound originated during the mid-1950s as a subgenre of American country music, replacing the chart dominance of the rough honky tonk music, which was most popular in the 1940s and 1950s, with \"smooth strings and choruses\", \"sophisticated background vocals\" and \"smooth tempos\" associated with traditional pop. It was an attempt \"to revive country sales, which had been devastated by the rise of rock 'n' roll\" as a distinct genre from the rockabilly spawned from it.\n\nOrigins\nThe Nashville Sound was pioneered by staff at RCA Victor, Columbia Records and Decca Records in Nashville, Tennessee. RCA Victor manager, producer and musician Chet Atkins, and producers Steve Sholes, Owen Bradley and Bob Ferguson, and recording engineer Bill Porter invented the form by replacing elements of the popular honky tonk style (fiddles, steel guitar, nasal lead vocals) with \"smooth\" elements from 1950s pop music (string sections, background vocals, crooning lead vocals), and using \"slick\" production, and pop music structures. The producers relied on a small group of studio musicians known as the Nashville A-Team, whose quick adaptability and creative input made them vital to the hit-making process. The Anita Kerr Quartet was the main vocal backing group in the early 1960s. In 1960, Time reported that Nashville had \"nosed out Hollywood as the nation's second biggest (after New York) record-producing center.\"\n\nThe term \"Nashville Sound\" was first mentioned in an article about Jim Reeves in 1958 in the Music Reporter and again in 1960 in a TIME article about Reeves. Other observers have identified several recordings that helped establish the early Nashville Sound. Country historian Rich Kienzle says that \"Gone\", a Ferlin Husky hit recorded in November 1956, \"may well have pointed the way to the Nashville Sound.\" Writer Colin Escott proclaims Reeves' \"Four Walls\", recorded February 1957, to be the \"first 'Nashville sound' record\", and Chet Atkins, the RCA Victor producer and guitarist most often credited with being the sound's primary artistic creator, pointed to his production of Don Gibson's \"Oh Lonesome Me\" later the same year.\n\nIn an essay published in Heartaches by the Number: Country Music's 500 Greatest Singles, David Cantwell argues that Elvis Presley's rock and roll recording of \"Don't Be Cruel\" in July 1956 was the record that sparked the beginning of the era now called the Nashville Sound. Cantwell, however, doesn't factor in earlier Nashville recordings using vocal choruses or the fact that Presley's recordings were not marketed as country.\n\nRegarding the Nashville Sound, the record producer Owen Bradley stated \n\nQuonset Hut Studio, RCA Studio B and later RCA Studio A, located directly center of Music Row, were considered pivotal as well as essential locations to the development of the Nashville Sound musical techniques. RCA Studio A specifically was designed and built to incorporate these techniques and was designed by RCA's sound engineer John E. Volkmann.\n\nCountrypolitan\n\nIn the early 1960s, the Nashville Sound began to be challenged by the rival Bakersfield sound on the country side and by the British Invasion on the pop side; compounding these problems were the sudden deaths, in separate airplane crashes, of Patsy Cline and Jim Reeves, two of the Nashville Sound's biggest stars. Nashville's pop song structure became more pronounced, and it morphed into what was called countrypolitan—a smoother sound typified through the use of lush string arrangements with a real orchestra and often background vocals provided by a choir. Countrypolitan was aimed straight at mainstream markets, and its music sold well through the later 1960s into the mid-1970s. Among the architects of this sound were producers Billy Sherrill (who was instrumental in shaping Tammy Wynette's early career) and Glenn Sutton. Artists who typified the countrypolitan sound initially included Wynette, Charlie Rich, and Charley Pride, along with Los Angeles-based singers Lynn Anderson and Glen Campbell. George Jones's style of the era successfully fused the countrypolitan sound with the honky-tonk style that had made him famous.\n\nThe Bakersfield sound, and later outlaw country, dominated country music among aficionados while countrypolitan reigned on the pop charts.\n\nUpon being asked what the Nashville Sound was, Chet Atkins put his hand into his pocket, shook his loose change, and said \"That's what it is. It's the sound of money\".\n\nCountry pop\n\nBy the late 1970s and 1980s, many pop music singers picked up the countrypolitan style and created what is known as country pop, the fusion of country music and pop music.\n\nSee also\nThe Nashville A-Team\nNashville Sounds, a baseball team that borrows its name from the style\nSchlager music, the category under which much of Nashville country falls in Europe\n\nReferences\n\nCountry music genres\nPop music genres\nNashville, Tennessee\nMusic of Tennessee\nMusic scenes",
"The Modern Sound of Mr. B is a 1964 studio album by the American singer Billy Eckstine. It was produced by Quincy Jones.\n\nReception\nThe album was chosen as a \"Special Merit Pick\" by Billboard magazine upon its release in June 1964. BillBoard commented that \"Few singers manage in their careers to achieve a truly distinctive style, but \"Mr B.\" has a style strictly his own.\" Stereo Review said of the album that \"His vocal sound is warm and rich, his polish is obvious. This album is titled \"The Modern Sound of Mr. B.\" It is a misnomer. Eckstine's sound is the same as it always was — like a 45-rpm Sarah Vaughan record played at 33 1/3\".\n\nTrack listing \n \"Mister Kicks\" - 2:20\n \"People\" (Jule Styne, Bob Merrill) - 3:13\n \"Satin Doll\" (Duke Ellington, Johnny Mercer, Billy Strayhorn) - 3:18\n \"A Beautiful Friendship\" (Donald Kahn, Stanley Styne) - 3:25\n \"Wives and Lovers\" (Burt Bacharach, Hal David) - 2:30\n \"What Are You Afraid of\" - 2:26\n \"Sweet Georgia Brown\" (Ben Bernie, Kenneth Casey, Maceo Pinkard) - 1:55\n \"A Garden in the Rain\" (James Dyrenforth, Carroll Gibbons) - 2:50\n \"Wouldn't It Be Loverly\" (Frederick Loewe, Alan Jay Lerner) - 4:07\n \"Poor Fool\" - 3:00\n \"Our Once Happy Love\" - 2:58\n \"Wanted\" - 2:47\n\nPersonnel \n Billy Eckstine - Vocals\n Quincy Jones - Producer\n\nReferences\n\n1964 albums\nAlbums produced by Quincy Jones\nBilly Eckstine albums\nMercury Records albums"
]
|
[
"Joy Division",
"Sound",
"What was their style of sound?",
"punk-inflected hard-rock"
]
| C_ded68eb0791c4dab8b6f4f32688dbb63_1 | Did their style change over time? | 2 | Did Joy Division style change over time? | Joy Division | Joy Division's style quickly evolved from their punk roots. Their sound during their early inception as Warsaw was described as generic and "undistinguished punk-inflected hard-rock". Critic Simon Reynolds observed how the band's originality only "really became apparent as the songs got slower", and their music took on a "sparse" quality. According to Reynolds, "Hook's bass carried the melody, Bernard Sumner's guitar left gaps rather than filling up the group's sound with dense riffage and Steve Morris' drums seemed to circle the rim of a crater." According to music critic Jon Savage, "Joy Division were not punk but they were directly inspired by its energy". In 1994 Sumner said the band's characteristic sound "came out naturally: I'm more rhythm and chords, and Hooky was melody. He used to play high lead bass because I liked my guitar to sound distorted, and the amplifier I had would only work when it was at full volume. When Hooky played low, he couldn't hear himself. Steve has his own style which is different to other drummers. To me, a drummer in the band is the clock, but Steve wouldn't be the clock, because he's passive: he would follow the rhythm of the band, which gave us our own edge." By Closer, Curtis had adapted a low baritone voice, drawing comparisons to Jim Morrison of the Doors (one of Curtis's favourite bands). Sumner largely acted as the band's director, a role he continued in New Order. While Sumner was the group's primary guitarist, Curtis played the instrument on a few recorded songs and during a few shows. Curtis hated playing guitar, but the band insisted he do so. Sumner said, "He played in quite a bizarre way and that to us was interesting, because no one else would play like Ian". During the recording sessions for Closer, Sumner began using self-built synthesisers and Hook used a six-string bass for more melody. Hannett "dedicated himself to capturing and intensifying Joy Division's eerie spatiality". Hannett believed punk rock was sonically conservative because of its refusal to use studio technology to create sonic space. The producer instead aimed to create a more expansive sound on the group's records. Hannett said, "[Joy Division] were a gift to a producer, because they didn't have a clue. They didn't argue". Hannett demanded clean and clear "sound separation" not only for individual instruments, but even for individual pieces of Morris's drumkit. Morris recalled, "Typically on tracks he considered to be potential singles, he'd get me to play each drum on its own to avoid any bleed-through of sound". Music journalist Richard Cook noted that Hannett's role was "crucial". There are "devices of distance" in his production and "the sound is an illusion of physicality". CANNOTANSWER | songs got slower | Joy Division were an English rock band formed in Salford in 1976. The group consisted of vocalist Ian Curtis, guitarist/keyboardist Bernard Sumner, bassist Peter Hook and drummer Stephen Morris.
Sumner and Hook formed the band after attending a Sex Pistols concert. While Joy Division's first recordings were heavily influenced by early punk, they soon developed a sparse sound and style that made them one of the pioneers of the post-punk movement. Their self-released 1978 debut EP An Ideal for Living drew the attention of the Manchester television personality Tony Wilson, who signed them to his independent label Factory Records. Their debut album Unknown Pleasures, recorded with producer Martin Hannett, was released in 1979.
Curtis suffered from personal problems and health conditions, including a failing marriage, depression, and epilepsy. As the band's popularity grew, Curtis's condition made it increasingly difficult for him to perform; he occasionally experienced seizures on stage. He died by suicide on the eve of the band's first US/Canada tour in May 1980, aged 23. Joy Division's second and final album, Closer, was released two months later; it and the single "Love Will Tear Us Apart" became their highest charting releases.
The remaining members regrouped under the name New Order. They were successful throughout the next decade, blending post-punk with electronic and dance music influences.
History
Formation
On 4 June 1976, childhood friends Bernard Sumner and Peter Hook separately attended a Sex Pistols show at the Manchester Lesser Free Trade Hall. Both were inspired by the Pistols' performance. Sumner said that he felt the Pistols "destroyed the myth of being a pop star, of a musician being some kind of god that you had to worship". The following day Hook borrowed £35 from his mother to buy a bass guitar. They formed a band with Terry Mason, who had also attended the gig; Sumner bought a guitar, and Mason a drum kit. After their schoolfriend Martin Gresty declined an invitation to join as vocalist after getting a job at a factory, the band placed an advertisement for a vocalist in the Manchester Virgin Records shop. Ian Curtis, who knew them from earlier gigs, responded and was hired without audition. Sumner said that he "knew he was all right to get on with and that's what we based the whole group on. If we liked someone, they were in."
Buzzcocks manager Richard Boon and frontman Pete Shelley have both been credited with suggesting the band name "Stiff Kittens", but the band settled on "Warsaw" shortly before their first gig, a reference to David Bowie's song "Warszawa". Warsaw debuted on 29 May 1977 at the Electric Circus, supporting the Buzzcocks, Penetration and John Cooper Clarke. Tony Tabac played drums that night after joining the band two days earlier. Reviews in the NME by Paul Morley and in Sounds by Ian Wood brought them immediate national exposure. Mason became the band's manager and Tabac was replaced on drums in June 1977 by Steve Brotherdale, who also played in the punk band The Panik. Brotherdale tried to get Curtis to leave the band and join The Panik, and even had Curtis audition. On 18 July 1977, Warsaw recorded five demo tracks at Pennine Sound Studios, Oldham. Uneasy with Brotherdale's aggressive personality, the band fired him soon after the sessions: driving home from the studio, they pulled over and asked Brotherdale to check on a flat tyre; when he got out of the car, they drove off.
In August 1977, Warsaw placed an advertisement in a music shop window seeking a replacement drummer. Stephen Morris, who had attended the same school as Curtis, was the sole respondent. Deborah Curtis, Ian's wife, stated that Morris "fitted perfectly" with the band, and that with his addition Warsaw became a "complete 'family. To avoid confusion with the London punk band Warsaw Pakt, the band renamed themselves Joy Division in early 1978, borrowing the name from the sexual slavery wing of a Nazi concentration camp mentioned in the 1955 novel House of Dolls. On 14 December, the group recorded their debut EP, An Ideal for Living, at Pennine Sound Studio and played their final gig as Warsaw on New Year's Eve at the Swinging Apple in Liverpool. Billed as Warsaw to ensure an audience, the band played their first gig as Joy Division on 25 January 1978 at Pip's Disco in Manchester.
Early releases
Joy Division were approached by RCA Records to record a cover of Nolan "N.F." Porter's "Keep on Keepin' On" at a Manchester recording studio. The band spent late March and April 1978 writing and rehearsing material. During the Stiff/Chiswick Challenge concert at Manchester's Rafters club on 14 April, they caught the attention of music producer Tony Wilson and manager Rob Gretton. Curtis berated Wilson for not putting the group on his Granada Television show So It Goes; Wilson responded that Joy Division would be the next band he would showcase on TV. Gretton, the venue's resident DJ, was so impressed by the band's performance that he convinced them to take him on as their manager. Gretton, whose "dogged determination" was later credited for much of the band's public success, contributed the business skills to provide Joy Division with a better foundation for creativity. Joy Division spent the first week of May 1978 recording at Manchester's Arrow Studios. The band were unhappy with the Grapevine Records head John Anderson's insistence on adding synthesiser into the mix to soften the sound, and asked to be dropped from the contract with RCA.
Joy Division made their recorded debut in June 1978 when the band self-released An Ideal for Living, and two weeks later their track "At a Later Date" was featured on the compilation album Short Circuit: Live at the Electric Circus (which had been recorded live in October 1977). In the Melody Maker review, Chris Brazier said that it "has the familiar rough-hewn nature of home-produced records, but they're no mere drone-vendors—there are a lot of good ideas here, and they could be a very interesting band by now, seven months on". The packaging of An Ideal for Living—which featured a drawing of a Hitler Youth member on the cover—coupled with the nature of the band's name fuelled speculation about their political affiliations. While Hook and Sumner later said they were intrigued by fascism at the time, Morris believed that the group's dalliance with Nazi imagery came from a desire to keep memories of the sacrifices of their parents and grandparents during World War II alive. He argued that accusations of neo-Nazi sympathies merely provoked the band "to keep on doing it, because that's the kind of people we are".
In September 1978, Joy Division made their television debut performing "Shadowplay" on So It Goes, with an introduction by Wilson. In October, Joy Division contributed two tracks recorded with producer Martin Hannett to the compilation double-7" EP A Factory Sample, the first release by Tony Wilson's record label, Factory Records. In the NME review of the EP, Paul Morley praised the band as "the missing link" between Elvis Presley and Siouxsie and the Banshees. Joy Division joined Factory's roster, after buying themselves out of the RCA deal. Gretton was made a label partner to represent the interests of the band. On 27 December, during the drive home from gig at the Hope and Anchor in London, Curtis suffered his first recognised severe epileptic seizure and was hospitalised. Meanwhile, Joy Division's career progressed, and Curtis appeared on the 13 January 1979 cover of NME. That month the band recorded their session for BBC Radio 1 DJ John Peel. According to Deborah Curtis, "Sandwiched in between these two important landmarks was the realisation that Ian's illness was something we would have to learn to accommodate".
Unknown Pleasures and breakthrough
Joy Division's debut album, Unknown Pleasures, was recorded at Strawberry Studios, Stockport, in April 1979. Producer Martin Hannett significantly altered their live sound, a fact that greatly displeased the band at the time; however, in 2006, Hook said that in retrospect Hannett had done a good job and "created the Joy Division sound". The album cover was designed by Peter Saville, who went on to provide artwork for future Joy Division and New Order releases.
Unknown Pleasures was released in June and sold through its initial pressing of 10,000 copies. Wilson said the success turned the indie label into a true business and a "revolutionary force" that operated outside of the major record label system. Reviewing the album for Melody Maker, writer Jon Savage described the album as an "opaque manifesto" and declared it "one of the best, white, English, debut LPs of the year".
Joy Division performed on Granada TV again in July 1979, and made their only nationwide TV appearance in September on BBC2's Something Else. They supported the Buzzcocks in a 24-venue UK tour that began that October, which allowed the band to quit their regular jobs. The non-album single "Transmission" was released in November. Joy Division's burgeoning success drew a devoted following who were stereotyped as "intense young men dressed in grey overcoats".
Closer and health problems
Joy Division toured Europe in January 1980. Although the schedule was demanding, Curtis experienced only two grand mal seizures, both in the final two months of the tour. That March, the band recorded their second album, Closer, with Hannett at London's Britannia Row Studios. That month they released the "Licht und Blindheit" single, with "Atmosphere" as the A-side and "Dead Souls" as the B-side, on the French independent label Sordide Sentimental.
A lack of sleep and long hours destabilised Curtis's epilepsy, and his seizures became almost uncontrollable. He often had seizures during performances, which some audience members believed were part of the performance. The seizures left him feeling ashamed and depressed, and the band became increasingly worried about Curtis's condition. On 7 April 1980, Curtis attempted suicide by overdosing on his anti-seizure medication, phenobarbitone. The following evening, Joy Division were scheduled to play a gig at the Derby Hall in Bury. Curtis was too ill to perform, so at Gretton's insistence the band played a combined set with Alan Hempsall of Crispy Ambulance and Simon Topping of A Certain Ratio singing on the first few songs. When Topping came back towards the end of the set, some audience members threw bottles at the stage. Curtis's ill health led to the cancellation of several other gigs that April. Joy Division's final live performance was held at the University of Birmingham's High Hall on 2 May, and included their only performance of "Ceremony", one of the last songs written by Curtis.
Hannett's production has been widely praised. However, as with Unknown Pleasures, both Hook and Sumner were unhappy with the production. Hook said that when he heard the final mix of "Atrocity Exhibition" he was disappointed that the abrasiveness had been toned down. He wrote; "I was like, head in hands, 'Oh fucking hell, it's happening again ... Martin had fucking melted the guitar with his Marshall Time Waster. Made it sound like someone strangling a cat and, to my mind, absolutely killed the song. I was so annoyed with him and went in and gave him a piece of my mind but he just turned round and told me to fuck off."
Curtis' suicide and aftermath
Joy Division were scheduled to commence their first US/Canada tour in May 1980. Curtis had expressed enthusiasm about the tour, but his relationship with his wife, Deborah, was under strain; Deborah was excluded from the band's inner circle, and Curtis was having an affair with Belgian journalist and music promoter Annik Honoré, whom he met on tour in Europe in 1979. He was also anxious about how American audiences would react to his epilepsy.
The evening before the band were due to depart for America, Curtis returned to his Macclesfield home to talk to Deborah. He asked her to drop an impending divorce suit, and asked her to leave him alone in the house until he caught a train to Manchester the following morning. Early on 18 May 1980, having spent the night watching the Werner Herzog film Stroszek, Curtis hanged himself in his kitchen. Deborah discovered his body later that day when she returned.
The suicide shocked the band and their management. In 2005, Wilson said: "I think all of us made the mistake of not thinking his suicide was going to happen ... We all completely underestimated the danger. We didn't take it seriously. That's how stupid we were." Music critic Simon Reynolds said Curtis's suicide "made for instant myth". Jon Savage's obituary said that "now no one will remember what his work with Joy Division was like when he was alive; it will be perceived as tragic rather than courageous". In June 1980, Joy Division's single "Love Will Tear Us Apart" was released, which hit number thirteen on the UK Singles Chart. In July 1980, Closer was released, and peaked at number six on the UK Albums Chart. NME reviewer Charles Shaar Murray wrote, "Closer is as magnificent a memorial (for 'Joy Division' as much as for Ian Curtis) as any post-Presley popular musician could have."
Morris said that even without Curtis's death, it is unlikely that Joy Division would have endured. The members had made a pact long before Curtis's death that, should any member leave, the remaining members would change the band name. The band re-formed as New Order, with Sumner on vocals; they later recruited Morris's girlfriend Gillian Gilbert as keyboardist and second guitarist. Gilbert had befriended the band and played guitar at a Joy Division performance when Curtis had been unable to play.
New Order's debut single, "Ceremony" (1981), was formed from the last two songs written with Curtis. New Order struggled in their early years to escape the shadow of Joy Division, but went on to achieve far greater commercial success with a different, more upbeat and dance-orientated sound.
Various Joy Division outtakes and live material have been released. Still, featuring live tracks and rare recordings, was issued in 1981. Factory issued the Substance compilation in 1988, including several out-of-print singles. Permanent was released in 1995 by London Records, which had acquired the Joy Division catalogue after Factory's 1992 bankruptcy. A comprehensive box set, Heart and Soul, appeared in 1997.
Musical style
Sound
Joy Division took time to develop their style and quickly evolved from their punk roots. Their sound during their early inception as Warsaw was described as fairly generic and "undistinguished punk-inflected hard-rock". Critic Simon Reynolds observed how the band's originality only "really became apparent as the songs got slower", and their music took on a "sparse" quality. According to Reynolds, "Hook's bass carried the melody, Bernard Sumner's guitar left gaps rather than filling up the group's sound with dense riffage and Steve Morris' drums seemed to circle the rim of a crater." According to music critic Jon Savage, "Joy Division were not punk but they were directly inspired by its energy". In 1994 Sumner said the band's characteristic sound "came out naturally: I'm more rhythm and chords, and Hooky was melody. He used to play high lead bass because I liked my guitar to sound distorted, and the amplifier I had would only work when it was at full volume. When Hooky played low, he couldn't hear himself. Steve has his own style which is different to other drummers. To me, a drummer in the band is the clock, but Steve wouldn't be the clock, because he's passive: he would follow the rhythm of the band, which gave us our own edge." By Closer, Curtis had adapted a low baritone voice, drawing comparisons to Jim Morrison of the Doors (one of Curtis's favourite bands).
Sumner largely acted as the band's director, a role he continued in New Order. While Sumner was the group's primary guitarist, Curtis played the instrument on a few recorded songs and during a few shows. Curtis hated playing guitar, but the band insisted he do so. Sumner said, "He played in quite a bizarre way and that to us was interesting, because no one else would play like Ian". During the recording sessions for Closer, Sumner began using self-built synthesisers and Hook used a six-string bass for more melody.
Producer Martin Hannett "dedicated himself to capturing and intensifying Joy Division's eerie spatiality". Hannett believed punk rock was sonically conservative because of its refusal to use studio technology to create sonic space. The producer instead aimed to create a more expansive sound on the group's records. Hannett said, "[Joy Division] were a gift to a producer, because they didn't have a clue. They didn't argue". Hannett demanded clean and clear "sound separation" not only for individual instruments, but even for individual pieces of Morris's drumkit. Morris recalled, "Typically on tracks he considered to be potential singles, he'd get me to play each drum on its own to avoid any bleed-through of sound". Music journalist Richard Cook noted that Hannett's role was "crucial". There are "devices of distance" in his production and "the sound is an illusion of physicality".
Lyrics
Curtis was the band's sole lyricist, and he typically composed his lyrics in a notebook, independently of the eventual music to evolve. The music itself was largely written by Sumner and Hook as the group jammed during rehearsals. Curtis's imagery and word choice often referenced "coldness, pressure, darkness, crisis, failure, collapse, loss of control". In 1979, NME journalist Paul Rambali wrote, "The themes of Joy Division's music are sorrowful, painful and sometimes deeply sad." Music journalist Jon Savage wrote that "Curtis's great lyrical achievement was to capture the underlying reality of a society in turmoil, and to make it both universal and personal," while noting that "the lyrics reflected, in mood and approach, his interest in romantic and science-fiction literature." Critic Robert Palmer wrote that William S. Burroughs and J. G. Ballard were "obvious influences" to Curtis, and Morris also remembered the singer reading T. S. Eliot. Deborah Curtis also remembered Curtis reading works by writers such as Fyodor Dostoevsky, Friedrich Nietzsche, Jean-Paul Sartre, Franz Kafka, and Hermann Hesse.
Curtis was unwilling to explain the meaning behind his lyrics and Joy Division releases were absent of any lyric sheets. He told the fanzine Printed Noise, "We haven't got a message really; the lyrics are open to interpretation. They're multidimensional. You can read into them what you like." The other Joy Division members have said that at the time, they paid little attention to the contents of Curtis' lyrics. In a 1987 interview with Option, Morris said that they "just thought the songs were sort of sympathetic and more uplifting than depressing. But everyone's got their own opinion." Deborah Curtis recalled that only with the release of Closer did many who were close to the singer realise "[h]is intentions and feelings were all there within the lyrics". The surviving members regret not seeing the warning signs in Curtis's lyrics. Morris said that "it was only after Ian died that we sat down and listened to the lyrics...you'd find yourself thinking, 'Oh my God, I missed this one'. Because I'd look at Ian's lyrics and think how clever he was putting himself in the position of someone else. I never believed he was writing about himself. Looking back, how could I have been so bleedin' stupid? Of course he was writing about himself. But I didn't go in and grab him and ask, 'What's up?' I have to live with that".
Live performances
In contrast to the sound of their studio recordings, Joy Division typically played loudly and aggressively during live performances. The band were especially unhappy with Hannett's mix of Unknown Pleasures, which reduced the abrasiveness of their live sound for a more cerebral and ghostly sound. According to Sumner "the music was loud and heavy, and we felt that Martin had toned it down, especially with the guitars".
During their live performances, the group did not interact with the audience; according to Paul Morley, "During a Joy Division set, outside of the songs, you'll be lucky to hear more than two or three words. Hello and goodbye. No introductions, no promotion." Curtis would often perform what became known as his "'dead fly' dance", as if imitating a seizure; his arms would "start flying in [a] semicircular, hypnotic curve". Simon Reynolds noted that Curtis's dancing style was reminiscent of an epileptic fit, and that he was dancing in the manner for some months before he was diagnosed with epilepsy. Live performances became problematic for Joy Division, due to Curtis's condition. Sumner later said, "We didn't have flashing lights, but sometimes a particular drum beat would do something to him. He'd go off in a trance for a bit, then he'd lose it and have an epileptic fit. We'd have to stop the show and carry him off to the dressing room where he'd cry his eyes out because this appalling thing had just happened to him".
Influences
Sumner wrote that Curtis was inspired by artists such as the Doors, Iggy Pop, David Bowie, Kraftwerk, the Velvet Underground and Neu!. Hook has also related that Curtis was particularly influenced by Iggy Pop's stage persona. The group were inspired by Kraftwerk's "marriage between humans and machines", and the inventiveness of their electronic music. Joy Division played Trans-Europe Express through the PA before they went on stage, "to get a momentum". Bowie's "Berlin Trilogy" elaborated with Brian Eno, influenced them; the "cold austerity" of the synthesisers on the b-sides of Heroes and Low albums, was a "music looking at the future". Morris cited the "unique style" of Velvet Underground's Maureen Tucker and the motorik drum beats, from Neu! and Can. Morris also credited Siouxsie and the Banshees because their "first drummer Kenny Morris played mostly toms" and "the sound of cymbals was forbidden". Hook said that "Siouxsie and the Banshees were one of our big influences ... The way the guitarist and the drummer played was a really unusual way of playing". Hook drew inspiration from the style of bassist Jean-Jacques Burnel and his early material with the Stranglers; he also credited Carol Kaye and her musical basslines on early 1970s work of the Temptations. Sumner mentioned "the raw, nasty, unpolished edge" in the guitars of the Rolling Stones, the simple riff of "Vicious" on Lou Reed's Transformer, and Neil Young. His musical horizon went up a notch with Jimi Hendrix, he realised "it wasn't about little catchy tunes ... it was what you could do sonically with a guitar."
Legacy
Despite their short career, Joy Division have exerted a wide-reaching influence. John Bush of AllMusic argues that Joy Division "became the first band in the post-punk movement by ... emphasizing not anger and energy but mood and expression, pointing ahead to the rise of melancholy alternative music in the '80s."
Joy Division have influenced bands including their contemporaries the Cure and U2, to later acts such as Bloc Party, Editors, Interpol, The Proclaimers, and Soundgarden. In 1980, U2 singer Bono said that Joy Division were "one of the most important bands of the last four or five years". Rapper Danny Brown named his album Atrocity Exhibition after the Joy Division song, whose title was partially inspired by the 1970 J. G. Ballard collection of condensed novels of the same name. In 2005 both New Order and Joy Division were inducted into the UK Music Hall of Fame.
The band's dark and gloomy sound, which Martin Hannett described in 1979 as "dancing music with Gothic overtones", presaged the gothic rock genre. While the term "gothic" originally described a "doomy atmosphere" in music of the late 1970s, the term was soon applied to specific bands like Bauhaus that followed in the wake of Joy Division and Siouxsie and the Banshees. Standard musical fixtures of early gothic rock bands included "high-pitched post-Joy Division basslines usurp[ing] the melodic role" and "vocals that were either near operatic and Teutonic or deep, droning alloys of Jim Morrison and Ian Curtis."
Joy Division have been dramatised in two biopics. 24 Hour Party People (2002) is a fictionalised account of Factory Records in which members of the band appear as supporting characters. Tony Wilson said of the film, "It's all true, it's all not true. It's not a fucking documentary," and that he favoured the "myth" over the truth. The 2007 film Control, directed by Anton Corbijn, is a biography of Ian Curtis (portrayed by Sam Riley) that uses Deborah Curtis's biography of her late husband, Touching from a Distance (1995), as its basis. Control had its international premiere on the opening night of Director's Fortnight at the 2007 Cannes Film Festival, where it was critically well received. That year Grant Gee directed the band documentary Joy Division.
Band members
Ian Curtis – lead vocals, guitar, melodica (1976–1980)
Bernard Sumner – lead guitar, keyboards, backing vocals, bass (1976–1980)
Peter Hook – bass, backing vocals, guitar (1976–1980)
Terry Mason – drums (1976–1977)
Tony Tabac – drums (1977)
Steve Brotherdale – drums (1977)
Stephen Morris – drums, percussion (1977–1980)
Timeline
Discography
Unknown Pleasures (1979)
Closer (1980)
References
Works cited
Further reading
External links
1976 establishments in England
1980 disestablishments in England
English gothic rock groups
English post-punk music groups
English new wave musical groups
Enigma Records artists
Factory Records artists
Music in Salford
Musical groups disestablished in 1980
Musical groups established in 1976
Musical groups from Greater Manchester
Musical quartets
New Order (band)
Qwest Records artists
Virgin Records artists | true | [
"Ghulam Murtaza Khan (1760–1840) is a Mughal era, 19th century painter from Delhi. He worked under penultimate Mughal emperor Akbar Shah II. He worked under British officers, Skinner and William Fraser. The painting style was known as company style.\n\nBiography\nGhulam Murtaza Khan did portraits of the imperial family and was also employed by the British after they took over Delhi in 1803. His nephew was the accomplished Mughal painter, Ghulam Ali Khan, who worked on the classic, Fraser Album.\n\nHe did not change his typical Mughal style, the refined style of the seventeenth-century. His style display a restrained naturalism like the formality of compositions during the reign of emperor Shah Jahan.\n\nReferences\n\nMughal painters\nIndian male painters\nIndian portrait painters\n1760 births\n1840 deaths\n18th-century Indian painters\n19th-century Indian painters\nPainters from Delhi",
"Dear You is the fourth and final studio album by American rock band Jawbreaker, released on September 12, 1995 by DGC Records, their first and only release on a major label. The band broke up after the release.\n\nSinger/guitarist Blake Schwarzenbach underwent surgery on his vocal cords shortly before the recording of Dear You. Containing much less raspy vocals, the record had higher production values compared to the band's previous albums. Schwarzenbach later confirmed that the move to DGC was necessary for the band to stay around, as they had been on the verge of breaking up.\n\nMusical style\nMusically, the album has been described as emo and pop punk.\n\nReception\n\nAt the time of the album's release, much of the band's pre-existing fanbase did not receive the album well. As Jawbreaker had made many previous comments to the media declaring their disdain of the major-label music industry–claiming many times that they would not sign to a major label–many fans saw the band signing to DGC Records (for a reported advance of one million dollars) as a \"betrayal.\" The slicker production, courtesy of a producer known at the time for working with Green Day, and Schwarzenbach's changed vocal style, did not go over well with many fans who did give the album a chance. After Jawbreaker's breakup, many of these same fans came to reconsider the album in the context of the band's legacy, and changed their opinion to a more positive view.\n\nConsidering this change in perception, along with the album's influence on the next wave of emo and pop punk music, it has appeared on various best-of emo album lists by NME. Similarly, \"Accident Prone\" appeared on a best-of emo songs list by Vulture.\n\nTrack listing\n\nReferences\n\nExternal links\n\nDear You at YouTube (streamed copy where licensed)\n\nJawbreaker (band) albums\n1995 albums\nalbums produced by Rob Cavallo"
]
|
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"Sound",
"What was their style of sound?",
"punk-inflected hard-rock",
"Did their style change over time?",
"songs got slower"
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| C_ded68eb0791c4dab8b6f4f32688dbb63_1 | Did their music sound differently from getting slower? | 3 | Did Joy Division music sound differently from getting slower? | Joy Division | Joy Division's style quickly evolved from their punk roots. Their sound during their early inception as Warsaw was described as generic and "undistinguished punk-inflected hard-rock". Critic Simon Reynolds observed how the band's originality only "really became apparent as the songs got slower", and their music took on a "sparse" quality. According to Reynolds, "Hook's bass carried the melody, Bernard Sumner's guitar left gaps rather than filling up the group's sound with dense riffage and Steve Morris' drums seemed to circle the rim of a crater." According to music critic Jon Savage, "Joy Division were not punk but they were directly inspired by its energy". In 1994 Sumner said the band's characteristic sound "came out naturally: I'm more rhythm and chords, and Hooky was melody. He used to play high lead bass because I liked my guitar to sound distorted, and the amplifier I had would only work when it was at full volume. When Hooky played low, he couldn't hear himself. Steve has his own style which is different to other drummers. To me, a drummer in the band is the clock, but Steve wouldn't be the clock, because he's passive: he would follow the rhythm of the band, which gave us our own edge." By Closer, Curtis had adapted a low baritone voice, drawing comparisons to Jim Morrison of the Doors (one of Curtis's favourite bands). Sumner largely acted as the band's director, a role he continued in New Order. While Sumner was the group's primary guitarist, Curtis played the instrument on a few recorded songs and during a few shows. Curtis hated playing guitar, but the band insisted he do so. Sumner said, "He played in quite a bizarre way and that to us was interesting, because no one else would play like Ian". During the recording sessions for Closer, Sumner began using self-built synthesisers and Hook used a six-string bass for more melody. Hannett "dedicated himself to capturing and intensifying Joy Division's eerie spatiality". Hannett believed punk rock was sonically conservative because of its refusal to use studio technology to create sonic space. The producer instead aimed to create a more expansive sound on the group's records. Hannett said, "[Joy Division] were a gift to a producer, because they didn't have a clue. They didn't argue". Hannett demanded clean and clear "sound separation" not only for individual instruments, but even for individual pieces of Morris's drumkit. Morris recalled, "Typically on tracks he considered to be potential singles, he'd get me to play each drum on its own to avoid any bleed-through of sound". Music journalist Richard Cook noted that Hannett's role was "crucial". There are "devices of distance" in his production and "the sound is an illusion of physicality". CANNOTANSWER | Hook's bass carried the melody, Bernard Sumner's guitar left gaps rather than filling up the group's sound | Joy Division were an English rock band formed in Salford in 1976. The group consisted of vocalist Ian Curtis, guitarist/keyboardist Bernard Sumner, bassist Peter Hook and drummer Stephen Morris.
Sumner and Hook formed the band after attending a Sex Pistols concert. While Joy Division's first recordings were heavily influenced by early punk, they soon developed a sparse sound and style that made them one of the pioneers of the post-punk movement. Their self-released 1978 debut EP An Ideal for Living drew the attention of the Manchester television personality Tony Wilson, who signed them to his independent label Factory Records. Their debut album Unknown Pleasures, recorded with producer Martin Hannett, was released in 1979.
Curtis suffered from personal problems and health conditions, including a failing marriage, depression, and epilepsy. As the band's popularity grew, Curtis's condition made it increasingly difficult for him to perform; he occasionally experienced seizures on stage. He died by suicide on the eve of the band's first US/Canada tour in May 1980, aged 23. Joy Division's second and final album, Closer, was released two months later; it and the single "Love Will Tear Us Apart" became their highest charting releases.
The remaining members regrouped under the name New Order. They were successful throughout the next decade, blending post-punk with electronic and dance music influences.
History
Formation
On 4 June 1976, childhood friends Bernard Sumner and Peter Hook separately attended a Sex Pistols show at the Manchester Lesser Free Trade Hall. Both were inspired by the Pistols' performance. Sumner said that he felt the Pistols "destroyed the myth of being a pop star, of a musician being some kind of god that you had to worship". The following day Hook borrowed £35 from his mother to buy a bass guitar. They formed a band with Terry Mason, who had also attended the gig; Sumner bought a guitar, and Mason a drum kit. After their schoolfriend Martin Gresty declined an invitation to join as vocalist after getting a job at a factory, the band placed an advertisement for a vocalist in the Manchester Virgin Records shop. Ian Curtis, who knew them from earlier gigs, responded and was hired without audition. Sumner said that he "knew he was all right to get on with and that's what we based the whole group on. If we liked someone, they were in."
Buzzcocks manager Richard Boon and frontman Pete Shelley have both been credited with suggesting the band name "Stiff Kittens", but the band settled on "Warsaw" shortly before their first gig, a reference to David Bowie's song "Warszawa". Warsaw debuted on 29 May 1977 at the Electric Circus, supporting the Buzzcocks, Penetration and John Cooper Clarke. Tony Tabac played drums that night after joining the band two days earlier. Reviews in the NME by Paul Morley and in Sounds by Ian Wood brought them immediate national exposure. Mason became the band's manager and Tabac was replaced on drums in June 1977 by Steve Brotherdale, who also played in the punk band The Panik. Brotherdale tried to get Curtis to leave the band and join The Panik, and even had Curtis audition. On 18 July 1977, Warsaw recorded five demo tracks at Pennine Sound Studios, Oldham. Uneasy with Brotherdale's aggressive personality, the band fired him soon after the sessions: driving home from the studio, they pulled over and asked Brotherdale to check on a flat tyre; when he got out of the car, they drove off.
In August 1977, Warsaw placed an advertisement in a music shop window seeking a replacement drummer. Stephen Morris, who had attended the same school as Curtis, was the sole respondent. Deborah Curtis, Ian's wife, stated that Morris "fitted perfectly" with the band, and that with his addition Warsaw became a "complete 'family. To avoid confusion with the London punk band Warsaw Pakt, the band renamed themselves Joy Division in early 1978, borrowing the name from the sexual slavery wing of a Nazi concentration camp mentioned in the 1955 novel House of Dolls. On 14 December, the group recorded their debut EP, An Ideal for Living, at Pennine Sound Studio and played their final gig as Warsaw on New Year's Eve at the Swinging Apple in Liverpool. Billed as Warsaw to ensure an audience, the band played their first gig as Joy Division on 25 January 1978 at Pip's Disco in Manchester.
Early releases
Joy Division were approached by RCA Records to record a cover of Nolan "N.F." Porter's "Keep on Keepin' On" at a Manchester recording studio. The band spent late March and April 1978 writing and rehearsing material. During the Stiff/Chiswick Challenge concert at Manchester's Rafters club on 14 April, they caught the attention of music producer Tony Wilson and manager Rob Gretton. Curtis berated Wilson for not putting the group on his Granada Television show So It Goes; Wilson responded that Joy Division would be the next band he would showcase on TV. Gretton, the venue's resident DJ, was so impressed by the band's performance that he convinced them to take him on as their manager. Gretton, whose "dogged determination" was later credited for much of the band's public success, contributed the business skills to provide Joy Division with a better foundation for creativity. Joy Division spent the first week of May 1978 recording at Manchester's Arrow Studios. The band were unhappy with the Grapevine Records head John Anderson's insistence on adding synthesiser into the mix to soften the sound, and asked to be dropped from the contract with RCA.
Joy Division made their recorded debut in June 1978 when the band self-released An Ideal for Living, and two weeks later their track "At a Later Date" was featured on the compilation album Short Circuit: Live at the Electric Circus (which had been recorded live in October 1977). In the Melody Maker review, Chris Brazier said that it "has the familiar rough-hewn nature of home-produced records, but they're no mere drone-vendors—there are a lot of good ideas here, and they could be a very interesting band by now, seven months on". The packaging of An Ideal for Living—which featured a drawing of a Hitler Youth member on the cover—coupled with the nature of the band's name fuelled speculation about their political affiliations. While Hook and Sumner later said they were intrigued by fascism at the time, Morris believed that the group's dalliance with Nazi imagery came from a desire to keep memories of the sacrifices of their parents and grandparents during World War II alive. He argued that accusations of neo-Nazi sympathies merely provoked the band "to keep on doing it, because that's the kind of people we are".
In September 1978, Joy Division made their television debut performing "Shadowplay" on So It Goes, with an introduction by Wilson. In October, Joy Division contributed two tracks recorded with producer Martin Hannett to the compilation double-7" EP A Factory Sample, the first release by Tony Wilson's record label, Factory Records. In the NME review of the EP, Paul Morley praised the band as "the missing link" between Elvis Presley and Siouxsie and the Banshees. Joy Division joined Factory's roster, after buying themselves out of the RCA deal. Gretton was made a label partner to represent the interests of the band. On 27 December, during the drive home from gig at the Hope and Anchor in London, Curtis suffered his first recognised severe epileptic seizure and was hospitalised. Meanwhile, Joy Division's career progressed, and Curtis appeared on the 13 January 1979 cover of NME. That month the band recorded their session for BBC Radio 1 DJ John Peel. According to Deborah Curtis, "Sandwiched in between these two important landmarks was the realisation that Ian's illness was something we would have to learn to accommodate".
Unknown Pleasures and breakthrough
Joy Division's debut album, Unknown Pleasures, was recorded at Strawberry Studios, Stockport, in April 1979. Producer Martin Hannett significantly altered their live sound, a fact that greatly displeased the band at the time; however, in 2006, Hook said that in retrospect Hannett had done a good job and "created the Joy Division sound". The album cover was designed by Peter Saville, who went on to provide artwork for future Joy Division and New Order releases.
Unknown Pleasures was released in June and sold through its initial pressing of 10,000 copies. Wilson said the success turned the indie label into a true business and a "revolutionary force" that operated outside of the major record label system. Reviewing the album for Melody Maker, writer Jon Savage described the album as an "opaque manifesto" and declared it "one of the best, white, English, debut LPs of the year".
Joy Division performed on Granada TV again in July 1979, and made their only nationwide TV appearance in September on BBC2's Something Else. They supported the Buzzcocks in a 24-venue UK tour that began that October, which allowed the band to quit their regular jobs. The non-album single "Transmission" was released in November. Joy Division's burgeoning success drew a devoted following who were stereotyped as "intense young men dressed in grey overcoats".
Closer and health problems
Joy Division toured Europe in January 1980. Although the schedule was demanding, Curtis experienced only two grand mal seizures, both in the final two months of the tour. That March, the band recorded their second album, Closer, with Hannett at London's Britannia Row Studios. That month they released the "Licht und Blindheit" single, with "Atmosphere" as the A-side and "Dead Souls" as the B-side, on the French independent label Sordide Sentimental.
A lack of sleep and long hours destabilised Curtis's epilepsy, and his seizures became almost uncontrollable. He often had seizures during performances, which some audience members believed were part of the performance. The seizures left him feeling ashamed and depressed, and the band became increasingly worried about Curtis's condition. On 7 April 1980, Curtis attempted suicide by overdosing on his anti-seizure medication, phenobarbitone. The following evening, Joy Division were scheduled to play a gig at the Derby Hall in Bury. Curtis was too ill to perform, so at Gretton's insistence the band played a combined set with Alan Hempsall of Crispy Ambulance and Simon Topping of A Certain Ratio singing on the first few songs. When Topping came back towards the end of the set, some audience members threw bottles at the stage. Curtis's ill health led to the cancellation of several other gigs that April. Joy Division's final live performance was held at the University of Birmingham's High Hall on 2 May, and included their only performance of "Ceremony", one of the last songs written by Curtis.
Hannett's production has been widely praised. However, as with Unknown Pleasures, both Hook and Sumner were unhappy with the production. Hook said that when he heard the final mix of "Atrocity Exhibition" he was disappointed that the abrasiveness had been toned down. He wrote; "I was like, head in hands, 'Oh fucking hell, it's happening again ... Martin had fucking melted the guitar with his Marshall Time Waster. Made it sound like someone strangling a cat and, to my mind, absolutely killed the song. I was so annoyed with him and went in and gave him a piece of my mind but he just turned round and told me to fuck off."
Curtis' suicide and aftermath
Joy Division were scheduled to commence their first US/Canada tour in May 1980. Curtis had expressed enthusiasm about the tour, but his relationship with his wife, Deborah, was under strain; Deborah was excluded from the band's inner circle, and Curtis was having an affair with Belgian journalist and music promoter Annik Honoré, whom he met on tour in Europe in 1979. He was also anxious about how American audiences would react to his epilepsy.
The evening before the band were due to depart for America, Curtis returned to his Macclesfield home to talk to Deborah. He asked her to drop an impending divorce suit, and asked her to leave him alone in the house until he caught a train to Manchester the following morning. Early on 18 May 1980, having spent the night watching the Werner Herzog film Stroszek, Curtis hanged himself in his kitchen. Deborah discovered his body later that day when she returned.
The suicide shocked the band and their management. In 2005, Wilson said: "I think all of us made the mistake of not thinking his suicide was going to happen ... We all completely underestimated the danger. We didn't take it seriously. That's how stupid we were." Music critic Simon Reynolds said Curtis's suicide "made for instant myth". Jon Savage's obituary said that "now no one will remember what his work with Joy Division was like when he was alive; it will be perceived as tragic rather than courageous". In June 1980, Joy Division's single "Love Will Tear Us Apart" was released, which hit number thirteen on the UK Singles Chart. In July 1980, Closer was released, and peaked at number six on the UK Albums Chart. NME reviewer Charles Shaar Murray wrote, "Closer is as magnificent a memorial (for 'Joy Division' as much as for Ian Curtis) as any post-Presley popular musician could have."
Morris said that even without Curtis's death, it is unlikely that Joy Division would have endured. The members had made a pact long before Curtis's death that, should any member leave, the remaining members would change the band name. The band re-formed as New Order, with Sumner on vocals; they later recruited Morris's girlfriend Gillian Gilbert as keyboardist and second guitarist. Gilbert had befriended the band and played guitar at a Joy Division performance when Curtis had been unable to play.
New Order's debut single, "Ceremony" (1981), was formed from the last two songs written with Curtis. New Order struggled in their early years to escape the shadow of Joy Division, but went on to achieve far greater commercial success with a different, more upbeat and dance-orientated sound.
Various Joy Division outtakes and live material have been released. Still, featuring live tracks and rare recordings, was issued in 1981. Factory issued the Substance compilation in 1988, including several out-of-print singles. Permanent was released in 1995 by London Records, which had acquired the Joy Division catalogue after Factory's 1992 bankruptcy. A comprehensive box set, Heart and Soul, appeared in 1997.
Musical style
Sound
Joy Division took time to develop their style and quickly evolved from their punk roots. Their sound during their early inception as Warsaw was described as fairly generic and "undistinguished punk-inflected hard-rock". Critic Simon Reynolds observed how the band's originality only "really became apparent as the songs got slower", and their music took on a "sparse" quality. According to Reynolds, "Hook's bass carried the melody, Bernard Sumner's guitar left gaps rather than filling up the group's sound with dense riffage and Steve Morris' drums seemed to circle the rim of a crater." According to music critic Jon Savage, "Joy Division were not punk but they were directly inspired by its energy". In 1994 Sumner said the band's characteristic sound "came out naturally: I'm more rhythm and chords, and Hooky was melody. He used to play high lead bass because I liked my guitar to sound distorted, and the amplifier I had would only work when it was at full volume. When Hooky played low, he couldn't hear himself. Steve has his own style which is different to other drummers. To me, a drummer in the band is the clock, but Steve wouldn't be the clock, because he's passive: he would follow the rhythm of the band, which gave us our own edge." By Closer, Curtis had adapted a low baritone voice, drawing comparisons to Jim Morrison of the Doors (one of Curtis's favourite bands).
Sumner largely acted as the band's director, a role he continued in New Order. While Sumner was the group's primary guitarist, Curtis played the instrument on a few recorded songs and during a few shows. Curtis hated playing guitar, but the band insisted he do so. Sumner said, "He played in quite a bizarre way and that to us was interesting, because no one else would play like Ian". During the recording sessions for Closer, Sumner began using self-built synthesisers and Hook used a six-string bass for more melody.
Producer Martin Hannett "dedicated himself to capturing and intensifying Joy Division's eerie spatiality". Hannett believed punk rock was sonically conservative because of its refusal to use studio technology to create sonic space. The producer instead aimed to create a more expansive sound on the group's records. Hannett said, "[Joy Division] were a gift to a producer, because they didn't have a clue. They didn't argue". Hannett demanded clean and clear "sound separation" not only for individual instruments, but even for individual pieces of Morris's drumkit. Morris recalled, "Typically on tracks he considered to be potential singles, he'd get me to play each drum on its own to avoid any bleed-through of sound". Music journalist Richard Cook noted that Hannett's role was "crucial". There are "devices of distance" in his production and "the sound is an illusion of physicality".
Lyrics
Curtis was the band's sole lyricist, and he typically composed his lyrics in a notebook, independently of the eventual music to evolve. The music itself was largely written by Sumner and Hook as the group jammed during rehearsals. Curtis's imagery and word choice often referenced "coldness, pressure, darkness, crisis, failure, collapse, loss of control". In 1979, NME journalist Paul Rambali wrote, "The themes of Joy Division's music are sorrowful, painful and sometimes deeply sad." Music journalist Jon Savage wrote that "Curtis's great lyrical achievement was to capture the underlying reality of a society in turmoil, and to make it both universal and personal," while noting that "the lyrics reflected, in mood and approach, his interest in romantic and science-fiction literature." Critic Robert Palmer wrote that William S. Burroughs and J. G. Ballard were "obvious influences" to Curtis, and Morris also remembered the singer reading T. S. Eliot. Deborah Curtis also remembered Curtis reading works by writers such as Fyodor Dostoevsky, Friedrich Nietzsche, Jean-Paul Sartre, Franz Kafka, and Hermann Hesse.
Curtis was unwilling to explain the meaning behind his lyrics and Joy Division releases were absent of any lyric sheets. He told the fanzine Printed Noise, "We haven't got a message really; the lyrics are open to interpretation. They're multidimensional. You can read into them what you like." The other Joy Division members have said that at the time, they paid little attention to the contents of Curtis' lyrics. In a 1987 interview with Option, Morris said that they "just thought the songs were sort of sympathetic and more uplifting than depressing. But everyone's got their own opinion." Deborah Curtis recalled that only with the release of Closer did many who were close to the singer realise "[h]is intentions and feelings were all there within the lyrics". The surviving members regret not seeing the warning signs in Curtis's lyrics. Morris said that "it was only after Ian died that we sat down and listened to the lyrics...you'd find yourself thinking, 'Oh my God, I missed this one'. Because I'd look at Ian's lyrics and think how clever he was putting himself in the position of someone else. I never believed he was writing about himself. Looking back, how could I have been so bleedin' stupid? Of course he was writing about himself. But I didn't go in and grab him and ask, 'What's up?' I have to live with that".
Live performances
In contrast to the sound of their studio recordings, Joy Division typically played loudly and aggressively during live performances. The band were especially unhappy with Hannett's mix of Unknown Pleasures, which reduced the abrasiveness of their live sound for a more cerebral and ghostly sound. According to Sumner "the music was loud and heavy, and we felt that Martin had toned it down, especially with the guitars".
During their live performances, the group did not interact with the audience; according to Paul Morley, "During a Joy Division set, outside of the songs, you'll be lucky to hear more than two or three words. Hello and goodbye. No introductions, no promotion." Curtis would often perform what became known as his "'dead fly' dance", as if imitating a seizure; his arms would "start flying in [a] semicircular, hypnotic curve". Simon Reynolds noted that Curtis's dancing style was reminiscent of an epileptic fit, and that he was dancing in the manner for some months before he was diagnosed with epilepsy. Live performances became problematic for Joy Division, due to Curtis's condition. Sumner later said, "We didn't have flashing lights, but sometimes a particular drum beat would do something to him. He'd go off in a trance for a bit, then he'd lose it and have an epileptic fit. We'd have to stop the show and carry him off to the dressing room where he'd cry his eyes out because this appalling thing had just happened to him".
Influences
Sumner wrote that Curtis was inspired by artists such as the Doors, Iggy Pop, David Bowie, Kraftwerk, the Velvet Underground and Neu!. Hook has also related that Curtis was particularly influenced by Iggy Pop's stage persona. The group were inspired by Kraftwerk's "marriage between humans and machines", and the inventiveness of their electronic music. Joy Division played Trans-Europe Express through the PA before they went on stage, "to get a momentum". Bowie's "Berlin Trilogy" elaborated with Brian Eno, influenced them; the "cold austerity" of the synthesisers on the b-sides of Heroes and Low albums, was a "music looking at the future". Morris cited the "unique style" of Velvet Underground's Maureen Tucker and the motorik drum beats, from Neu! and Can. Morris also credited Siouxsie and the Banshees because their "first drummer Kenny Morris played mostly toms" and "the sound of cymbals was forbidden". Hook said that "Siouxsie and the Banshees were one of our big influences ... The way the guitarist and the drummer played was a really unusual way of playing". Hook drew inspiration from the style of bassist Jean-Jacques Burnel and his early material with the Stranglers; he also credited Carol Kaye and her musical basslines on early 1970s work of the Temptations. Sumner mentioned "the raw, nasty, unpolished edge" in the guitars of the Rolling Stones, the simple riff of "Vicious" on Lou Reed's Transformer, and Neil Young. His musical horizon went up a notch with Jimi Hendrix, he realised "it wasn't about little catchy tunes ... it was what you could do sonically with a guitar."
Legacy
Despite their short career, Joy Division have exerted a wide-reaching influence. John Bush of AllMusic argues that Joy Division "became the first band in the post-punk movement by ... emphasizing not anger and energy but mood and expression, pointing ahead to the rise of melancholy alternative music in the '80s."
Joy Division have influenced bands including their contemporaries the Cure and U2, to later acts such as Bloc Party, Editors, Interpol, The Proclaimers, and Soundgarden. In 1980, U2 singer Bono said that Joy Division were "one of the most important bands of the last four or five years". Rapper Danny Brown named his album Atrocity Exhibition after the Joy Division song, whose title was partially inspired by the 1970 J. G. Ballard collection of condensed novels of the same name. In 2005 both New Order and Joy Division were inducted into the UK Music Hall of Fame.
The band's dark and gloomy sound, which Martin Hannett described in 1979 as "dancing music with Gothic overtones", presaged the gothic rock genre. While the term "gothic" originally described a "doomy atmosphere" in music of the late 1970s, the term was soon applied to specific bands like Bauhaus that followed in the wake of Joy Division and Siouxsie and the Banshees. Standard musical fixtures of early gothic rock bands included "high-pitched post-Joy Division basslines usurp[ing] the melodic role" and "vocals that were either near operatic and Teutonic or deep, droning alloys of Jim Morrison and Ian Curtis."
Joy Division have been dramatised in two biopics. 24 Hour Party People (2002) is a fictionalised account of Factory Records in which members of the band appear as supporting characters. Tony Wilson said of the film, "It's all true, it's all not true. It's not a fucking documentary," and that he favoured the "myth" over the truth. The 2007 film Control, directed by Anton Corbijn, is a biography of Ian Curtis (portrayed by Sam Riley) that uses Deborah Curtis's biography of her late husband, Touching from a Distance (1995), as its basis. Control had its international premiere on the opening night of Director's Fortnight at the 2007 Cannes Film Festival, where it was critically well received. That year Grant Gee directed the band documentary Joy Division.
Band members
Ian Curtis – lead vocals, guitar, melodica (1976–1980)
Bernard Sumner – lead guitar, keyboards, backing vocals, bass (1976–1980)
Peter Hook – bass, backing vocals, guitar (1976–1980)
Terry Mason – drums (1976–1977)
Tony Tabac – drums (1977)
Steve Brotherdale – drums (1977)
Stephen Morris – drums, percussion (1977–1980)
Timeline
Discography
Unknown Pleasures (1979)
Closer (1980)
References
Works cited
Further reading
External links
1976 establishments in England
1980 disestablishments in England
English gothic rock groups
English post-punk music groups
English new wave musical groups
Enigma Records artists
Factory Records artists
Music in Salford
Musical groups disestablished in 1980
Musical groups established in 1976
Musical groups from Greater Manchester
Musical quartets
New Order (band)
Qwest Records artists
Virgin Records artists | true | [
"Mainstream hardcore, mainstyle, Nu style gabber or newstyle hardcore is a subgenre of hardcore techno. The essence of mainstream hardcore sound is a distorted bass drum sound, overdriven to the point where it becomes clipped into a distorted square wave and makes a recognizably melodic tone.\n\nOften the Roland Alpha Juno or the kick from a Roland TR-909 was used to create this sound. Mainstream hardcore tracks typically include samples and synthesized melodies with the typical tempo ranging from 165 to 180 bpm. Violence, drugs and profanity are common themes in mainstream hardcore, perceptible through its samples and lyrics, often screamed, pitch shifted, or distorted.\n\nHistory\n\nThe mainstream hardcore sound derives from early hardcore (still called gabber at the time). In the late 1990s, early hardcore became less popular than Hardstyle. After surviving underground for a number of years, in 2002 Gabber regained some popularity in the Netherlands, although the sound is more mature, darker, and industrial. Some producers started embracing a slower style characterized by a deeper, harder bass drum that typically had a longer envelope than was possible in the traditional, faster style. In this aspect, this new form of gabber obviously cannot be considered less powerful than its precursor. This newer sound was referred to as \"New Style\" or \"Mainstream\" and as the tempo got slower and slower it began to become similar to Chicago hard house. Many hardcore enthusiasts hated Chicago hard house and the club scene it typified, and frequently DJs would be booed by one group of fans and cheered for by another at the same party, depending on the tempo and style of music they were playing. This is similar to the rivalry and mutual dislike that surfaced earlier between fans of \"regular\" hardcore and happy hardcore. Eventually the two styles met in the middle, and most gabber today is produced in a range of 160-180 bpm. This style is typically a bit slower than the Rotterdam style of the mid-1990s.\n\nStyle\nMainstream hardcore is characterized by its bass drum sound. Essentially, it comes from taking a normal synthesized bass drum and over-driving it heavily. The approximately sinusoidal sample starts to clip into a square wave with a falling pitch. This results in a number of effects: the frequency spectrum spreads out, thus achieving a louder, more aggressive sound. It also changes the amplitude envelope of the sound by increasing the sustain. Due to the distortion, the drum also develops a melodic tone. It is not uncommon for the bass drum pattern to change pitch throughout the song to follow the bass line. Many tracks rely on a clean, detuned supersaw lead, similar to uplifting trance and can therefore sound \"happy\".\n\nNotable record labels\n\nEnzyme Records\nID&T\nMasters of Hardcore\nRotterdam Records\n\nSee also\n List of gabber artists\n Hakken\n\nNotes\n\nExternal links\n\nHardcore music genres\nDutch styles of music",
"Liz Lachman is an American writer, director, and composer. She has worked on such award-winning short films as Getting to Know You, Pandora's Box, and Puppy Love. Born in Detroit, she currently lives in Los Angeles. Her partner is the chef Susan Feniger.\n\nCredits\n\nWriting\nGetting to Know You (2005)\nDante's Cove (2005)\n\nDirecting\nGetting to Know You (2005)\n\nMusic\nA Flintstone Family Christmas (1993)\nPuppy Love (2000)\nDamned River (1990)\nLucky Day (1991)\nIn the Arms of a Killer (1992)\nGunmen (1994)\nThe Glass Shield (1994)\nCapitol Critters (1995)\nThe Babysitter (1995)\nNightjohn (1996)The Wedding'' (1998)\n\nAwards and nominations\nGolden Reel awards:\n\nNominated, 2000, Best Sound Editing - Television Animation - Music for: \"Timon & Pumbaa\" (episode \"Steel Hog/Dealers Cut Choice\") (shared with Brian F. Mars)\nNominated, 2000, Best Sound Editing - Television Animation - Music for: \"Timon & Pumbaa\" (episode \"Hot Air Buffoons\") (shared with Fil Brown)\nNominated, 2000, Best Sound Editing - Television Animation - Music for: \"Mickey Mouse Works\" (shared with William Griggs and Jason Oliver)\nNominated, 2001, Best Sound Editing - Television Animation - Music for: \"Pepper Ann\" (shared with Nick Carr)\nWon, 2001, Best Sound Editing - Television Animation - Music for: \"Mickey Mouse Works\" (shared with Jason Oliver)\nNominated, 2002, Best Sound Editing in Television - Music, Episodic Animation for: \"House of Mouse\" (shared with Jason Oliver)\n\nDaytime Emmy awards:\n\nWon, 1988, Outstanding Achievement in Music Direction and Composition for a Drama Series for: \"Santa Barbara\" (shared with Dominic Messinger and Rick Rhodes)\n\nReferences\n\nExternal links\n\nMini-biography and brief interview with Liz Lachman\n\nLiving people\nAmerican women writers\nAmerican women composers\n21st-century American composers\nDaytime Emmy Award winners\nMusicians from Detroit\nYear of birth missing (living people)\nLGBT musicians from the United States\nLGBT writers from the United States\n21st-century American women musicians\n21st-century women composers"
]
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"Sound",
"What was their style of sound?",
"punk-inflected hard-rock",
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"songs got slower",
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"Hook's bass carried the melody, Bernard Sumner's guitar left gaps rather than filling up the group's sound"
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| C_ded68eb0791c4dab8b6f4f32688dbb63_1 | Was the sound of their music inspired by anything? | 4 | Was the sound of Joy Division music inspired by anything? | Joy Division | Joy Division's style quickly evolved from their punk roots. Their sound during their early inception as Warsaw was described as generic and "undistinguished punk-inflected hard-rock". Critic Simon Reynolds observed how the band's originality only "really became apparent as the songs got slower", and their music took on a "sparse" quality. According to Reynolds, "Hook's bass carried the melody, Bernard Sumner's guitar left gaps rather than filling up the group's sound with dense riffage and Steve Morris' drums seemed to circle the rim of a crater." According to music critic Jon Savage, "Joy Division were not punk but they were directly inspired by its energy". In 1994 Sumner said the band's characteristic sound "came out naturally: I'm more rhythm and chords, and Hooky was melody. He used to play high lead bass because I liked my guitar to sound distorted, and the amplifier I had would only work when it was at full volume. When Hooky played low, he couldn't hear himself. Steve has his own style which is different to other drummers. To me, a drummer in the band is the clock, but Steve wouldn't be the clock, because he's passive: he would follow the rhythm of the band, which gave us our own edge." By Closer, Curtis had adapted a low baritone voice, drawing comparisons to Jim Morrison of the Doors (one of Curtis's favourite bands). Sumner largely acted as the band's director, a role he continued in New Order. While Sumner was the group's primary guitarist, Curtis played the instrument on a few recorded songs and during a few shows. Curtis hated playing guitar, but the band insisted he do so. Sumner said, "He played in quite a bizarre way and that to us was interesting, because no one else would play like Ian". During the recording sessions for Closer, Sumner began using self-built synthesisers and Hook used a six-string bass for more melody. Hannett "dedicated himself to capturing and intensifying Joy Division's eerie spatiality". Hannett believed punk rock was sonically conservative because of its refusal to use studio technology to create sonic space. The producer instead aimed to create a more expansive sound on the group's records. Hannett said, "[Joy Division] were a gift to a producer, because they didn't have a clue. They didn't argue". Hannett demanded clean and clear "sound separation" not only for individual instruments, but even for individual pieces of Morris's drumkit. Morris recalled, "Typically on tracks he considered to be potential singles, he'd get me to play each drum on its own to avoid any bleed-through of sound". Music journalist Richard Cook noted that Hannett's role was "crucial". There are "devices of distance" in his production and "the sound is an illusion of physicality". CANNOTANSWER | inspired by its energy | Joy Division were an English rock band formed in Salford in 1976. The group consisted of vocalist Ian Curtis, guitarist/keyboardist Bernard Sumner, bassist Peter Hook and drummer Stephen Morris.
Sumner and Hook formed the band after attending a Sex Pistols concert. While Joy Division's first recordings were heavily influenced by early punk, they soon developed a sparse sound and style that made them one of the pioneers of the post-punk movement. Their self-released 1978 debut EP An Ideal for Living drew the attention of the Manchester television personality Tony Wilson, who signed them to his independent label Factory Records. Their debut album Unknown Pleasures, recorded with producer Martin Hannett, was released in 1979.
Curtis suffered from personal problems and health conditions, including a failing marriage, depression, and epilepsy. As the band's popularity grew, Curtis's condition made it increasingly difficult for him to perform; he occasionally experienced seizures on stage. He died by suicide on the eve of the band's first US/Canada tour in May 1980, aged 23. Joy Division's second and final album, Closer, was released two months later; it and the single "Love Will Tear Us Apart" became their highest charting releases.
The remaining members regrouped under the name New Order. They were successful throughout the next decade, blending post-punk with electronic and dance music influences.
History
Formation
On 4 June 1976, childhood friends Bernard Sumner and Peter Hook separately attended a Sex Pistols show at the Manchester Lesser Free Trade Hall. Both were inspired by the Pistols' performance. Sumner said that he felt the Pistols "destroyed the myth of being a pop star, of a musician being some kind of god that you had to worship". The following day Hook borrowed £35 from his mother to buy a bass guitar. They formed a band with Terry Mason, who had also attended the gig; Sumner bought a guitar, and Mason a drum kit. After their schoolfriend Martin Gresty declined an invitation to join as vocalist after getting a job at a factory, the band placed an advertisement for a vocalist in the Manchester Virgin Records shop. Ian Curtis, who knew them from earlier gigs, responded and was hired without audition. Sumner said that he "knew he was all right to get on with and that's what we based the whole group on. If we liked someone, they were in."
Buzzcocks manager Richard Boon and frontman Pete Shelley have both been credited with suggesting the band name "Stiff Kittens", but the band settled on "Warsaw" shortly before their first gig, a reference to David Bowie's song "Warszawa". Warsaw debuted on 29 May 1977 at the Electric Circus, supporting the Buzzcocks, Penetration and John Cooper Clarke. Tony Tabac played drums that night after joining the band two days earlier. Reviews in the NME by Paul Morley and in Sounds by Ian Wood brought them immediate national exposure. Mason became the band's manager and Tabac was replaced on drums in June 1977 by Steve Brotherdale, who also played in the punk band The Panik. Brotherdale tried to get Curtis to leave the band and join The Panik, and even had Curtis audition. On 18 July 1977, Warsaw recorded five demo tracks at Pennine Sound Studios, Oldham. Uneasy with Brotherdale's aggressive personality, the band fired him soon after the sessions: driving home from the studio, they pulled over and asked Brotherdale to check on a flat tyre; when he got out of the car, they drove off.
In August 1977, Warsaw placed an advertisement in a music shop window seeking a replacement drummer. Stephen Morris, who had attended the same school as Curtis, was the sole respondent. Deborah Curtis, Ian's wife, stated that Morris "fitted perfectly" with the band, and that with his addition Warsaw became a "complete 'family. To avoid confusion with the London punk band Warsaw Pakt, the band renamed themselves Joy Division in early 1978, borrowing the name from the sexual slavery wing of a Nazi concentration camp mentioned in the 1955 novel House of Dolls. On 14 December, the group recorded their debut EP, An Ideal for Living, at Pennine Sound Studio and played their final gig as Warsaw on New Year's Eve at the Swinging Apple in Liverpool. Billed as Warsaw to ensure an audience, the band played their first gig as Joy Division on 25 January 1978 at Pip's Disco in Manchester.
Early releases
Joy Division were approached by RCA Records to record a cover of Nolan "N.F." Porter's "Keep on Keepin' On" at a Manchester recording studio. The band spent late March and April 1978 writing and rehearsing material. During the Stiff/Chiswick Challenge concert at Manchester's Rafters club on 14 April, they caught the attention of music producer Tony Wilson and manager Rob Gretton. Curtis berated Wilson for not putting the group on his Granada Television show So It Goes; Wilson responded that Joy Division would be the next band he would showcase on TV. Gretton, the venue's resident DJ, was so impressed by the band's performance that he convinced them to take him on as their manager. Gretton, whose "dogged determination" was later credited for much of the band's public success, contributed the business skills to provide Joy Division with a better foundation for creativity. Joy Division spent the first week of May 1978 recording at Manchester's Arrow Studios. The band were unhappy with the Grapevine Records head John Anderson's insistence on adding synthesiser into the mix to soften the sound, and asked to be dropped from the contract with RCA.
Joy Division made their recorded debut in June 1978 when the band self-released An Ideal for Living, and two weeks later their track "At a Later Date" was featured on the compilation album Short Circuit: Live at the Electric Circus (which had been recorded live in October 1977). In the Melody Maker review, Chris Brazier said that it "has the familiar rough-hewn nature of home-produced records, but they're no mere drone-vendors—there are a lot of good ideas here, and they could be a very interesting band by now, seven months on". The packaging of An Ideal for Living—which featured a drawing of a Hitler Youth member on the cover—coupled with the nature of the band's name fuelled speculation about their political affiliations. While Hook and Sumner later said they were intrigued by fascism at the time, Morris believed that the group's dalliance with Nazi imagery came from a desire to keep memories of the sacrifices of their parents and grandparents during World War II alive. He argued that accusations of neo-Nazi sympathies merely provoked the band "to keep on doing it, because that's the kind of people we are".
In September 1978, Joy Division made their television debut performing "Shadowplay" on So It Goes, with an introduction by Wilson. In October, Joy Division contributed two tracks recorded with producer Martin Hannett to the compilation double-7" EP A Factory Sample, the first release by Tony Wilson's record label, Factory Records. In the NME review of the EP, Paul Morley praised the band as "the missing link" between Elvis Presley and Siouxsie and the Banshees. Joy Division joined Factory's roster, after buying themselves out of the RCA deal. Gretton was made a label partner to represent the interests of the band. On 27 December, during the drive home from gig at the Hope and Anchor in London, Curtis suffered his first recognised severe epileptic seizure and was hospitalised. Meanwhile, Joy Division's career progressed, and Curtis appeared on the 13 January 1979 cover of NME. That month the band recorded their session for BBC Radio 1 DJ John Peel. According to Deborah Curtis, "Sandwiched in between these two important landmarks was the realisation that Ian's illness was something we would have to learn to accommodate".
Unknown Pleasures and breakthrough
Joy Division's debut album, Unknown Pleasures, was recorded at Strawberry Studios, Stockport, in April 1979. Producer Martin Hannett significantly altered their live sound, a fact that greatly displeased the band at the time; however, in 2006, Hook said that in retrospect Hannett had done a good job and "created the Joy Division sound". The album cover was designed by Peter Saville, who went on to provide artwork for future Joy Division and New Order releases.
Unknown Pleasures was released in June and sold through its initial pressing of 10,000 copies. Wilson said the success turned the indie label into a true business and a "revolutionary force" that operated outside of the major record label system. Reviewing the album for Melody Maker, writer Jon Savage described the album as an "opaque manifesto" and declared it "one of the best, white, English, debut LPs of the year".
Joy Division performed on Granada TV again in July 1979, and made their only nationwide TV appearance in September on BBC2's Something Else. They supported the Buzzcocks in a 24-venue UK tour that began that October, which allowed the band to quit their regular jobs. The non-album single "Transmission" was released in November. Joy Division's burgeoning success drew a devoted following who were stereotyped as "intense young men dressed in grey overcoats".
Closer and health problems
Joy Division toured Europe in January 1980. Although the schedule was demanding, Curtis experienced only two grand mal seizures, both in the final two months of the tour. That March, the band recorded their second album, Closer, with Hannett at London's Britannia Row Studios. That month they released the "Licht und Blindheit" single, with "Atmosphere" as the A-side and "Dead Souls" as the B-side, on the French independent label Sordide Sentimental.
A lack of sleep and long hours destabilised Curtis's epilepsy, and his seizures became almost uncontrollable. He often had seizures during performances, which some audience members believed were part of the performance. The seizures left him feeling ashamed and depressed, and the band became increasingly worried about Curtis's condition. On 7 April 1980, Curtis attempted suicide by overdosing on his anti-seizure medication, phenobarbitone. The following evening, Joy Division were scheduled to play a gig at the Derby Hall in Bury. Curtis was too ill to perform, so at Gretton's insistence the band played a combined set with Alan Hempsall of Crispy Ambulance and Simon Topping of A Certain Ratio singing on the first few songs. When Topping came back towards the end of the set, some audience members threw bottles at the stage. Curtis's ill health led to the cancellation of several other gigs that April. Joy Division's final live performance was held at the University of Birmingham's High Hall on 2 May, and included their only performance of "Ceremony", one of the last songs written by Curtis.
Hannett's production has been widely praised. However, as with Unknown Pleasures, both Hook and Sumner were unhappy with the production. Hook said that when he heard the final mix of "Atrocity Exhibition" he was disappointed that the abrasiveness had been toned down. He wrote; "I was like, head in hands, 'Oh fucking hell, it's happening again ... Martin had fucking melted the guitar with his Marshall Time Waster. Made it sound like someone strangling a cat and, to my mind, absolutely killed the song. I was so annoyed with him and went in and gave him a piece of my mind but he just turned round and told me to fuck off."
Curtis' suicide and aftermath
Joy Division were scheduled to commence their first US/Canada tour in May 1980. Curtis had expressed enthusiasm about the tour, but his relationship with his wife, Deborah, was under strain; Deborah was excluded from the band's inner circle, and Curtis was having an affair with Belgian journalist and music promoter Annik Honoré, whom he met on tour in Europe in 1979. He was also anxious about how American audiences would react to his epilepsy.
The evening before the band were due to depart for America, Curtis returned to his Macclesfield home to talk to Deborah. He asked her to drop an impending divorce suit, and asked her to leave him alone in the house until he caught a train to Manchester the following morning. Early on 18 May 1980, having spent the night watching the Werner Herzog film Stroszek, Curtis hanged himself in his kitchen. Deborah discovered his body later that day when she returned.
The suicide shocked the band and their management. In 2005, Wilson said: "I think all of us made the mistake of not thinking his suicide was going to happen ... We all completely underestimated the danger. We didn't take it seriously. That's how stupid we were." Music critic Simon Reynolds said Curtis's suicide "made for instant myth". Jon Savage's obituary said that "now no one will remember what his work with Joy Division was like when he was alive; it will be perceived as tragic rather than courageous". In June 1980, Joy Division's single "Love Will Tear Us Apart" was released, which hit number thirteen on the UK Singles Chart. In July 1980, Closer was released, and peaked at number six on the UK Albums Chart. NME reviewer Charles Shaar Murray wrote, "Closer is as magnificent a memorial (for 'Joy Division' as much as for Ian Curtis) as any post-Presley popular musician could have."
Morris said that even without Curtis's death, it is unlikely that Joy Division would have endured. The members had made a pact long before Curtis's death that, should any member leave, the remaining members would change the band name. The band re-formed as New Order, with Sumner on vocals; they later recruited Morris's girlfriend Gillian Gilbert as keyboardist and second guitarist. Gilbert had befriended the band and played guitar at a Joy Division performance when Curtis had been unable to play.
New Order's debut single, "Ceremony" (1981), was formed from the last two songs written with Curtis. New Order struggled in their early years to escape the shadow of Joy Division, but went on to achieve far greater commercial success with a different, more upbeat and dance-orientated sound.
Various Joy Division outtakes and live material have been released. Still, featuring live tracks and rare recordings, was issued in 1981. Factory issued the Substance compilation in 1988, including several out-of-print singles. Permanent was released in 1995 by London Records, which had acquired the Joy Division catalogue after Factory's 1992 bankruptcy. A comprehensive box set, Heart and Soul, appeared in 1997.
Musical style
Sound
Joy Division took time to develop their style and quickly evolved from their punk roots. Their sound during their early inception as Warsaw was described as fairly generic and "undistinguished punk-inflected hard-rock". Critic Simon Reynolds observed how the band's originality only "really became apparent as the songs got slower", and their music took on a "sparse" quality. According to Reynolds, "Hook's bass carried the melody, Bernard Sumner's guitar left gaps rather than filling up the group's sound with dense riffage and Steve Morris' drums seemed to circle the rim of a crater." According to music critic Jon Savage, "Joy Division were not punk but they were directly inspired by its energy". In 1994 Sumner said the band's characteristic sound "came out naturally: I'm more rhythm and chords, and Hooky was melody. He used to play high lead bass because I liked my guitar to sound distorted, and the amplifier I had would only work when it was at full volume. When Hooky played low, he couldn't hear himself. Steve has his own style which is different to other drummers. To me, a drummer in the band is the clock, but Steve wouldn't be the clock, because he's passive: he would follow the rhythm of the band, which gave us our own edge." By Closer, Curtis had adapted a low baritone voice, drawing comparisons to Jim Morrison of the Doors (one of Curtis's favourite bands).
Sumner largely acted as the band's director, a role he continued in New Order. While Sumner was the group's primary guitarist, Curtis played the instrument on a few recorded songs and during a few shows. Curtis hated playing guitar, but the band insisted he do so. Sumner said, "He played in quite a bizarre way and that to us was interesting, because no one else would play like Ian". During the recording sessions for Closer, Sumner began using self-built synthesisers and Hook used a six-string bass for more melody.
Producer Martin Hannett "dedicated himself to capturing and intensifying Joy Division's eerie spatiality". Hannett believed punk rock was sonically conservative because of its refusal to use studio technology to create sonic space. The producer instead aimed to create a more expansive sound on the group's records. Hannett said, "[Joy Division] were a gift to a producer, because they didn't have a clue. They didn't argue". Hannett demanded clean and clear "sound separation" not only for individual instruments, but even for individual pieces of Morris's drumkit. Morris recalled, "Typically on tracks he considered to be potential singles, he'd get me to play each drum on its own to avoid any bleed-through of sound". Music journalist Richard Cook noted that Hannett's role was "crucial". There are "devices of distance" in his production and "the sound is an illusion of physicality".
Lyrics
Curtis was the band's sole lyricist, and he typically composed his lyrics in a notebook, independently of the eventual music to evolve. The music itself was largely written by Sumner and Hook as the group jammed during rehearsals. Curtis's imagery and word choice often referenced "coldness, pressure, darkness, crisis, failure, collapse, loss of control". In 1979, NME journalist Paul Rambali wrote, "The themes of Joy Division's music are sorrowful, painful and sometimes deeply sad." Music journalist Jon Savage wrote that "Curtis's great lyrical achievement was to capture the underlying reality of a society in turmoil, and to make it both universal and personal," while noting that "the lyrics reflected, in mood and approach, his interest in romantic and science-fiction literature." Critic Robert Palmer wrote that William S. Burroughs and J. G. Ballard were "obvious influences" to Curtis, and Morris also remembered the singer reading T. S. Eliot. Deborah Curtis also remembered Curtis reading works by writers such as Fyodor Dostoevsky, Friedrich Nietzsche, Jean-Paul Sartre, Franz Kafka, and Hermann Hesse.
Curtis was unwilling to explain the meaning behind his lyrics and Joy Division releases were absent of any lyric sheets. He told the fanzine Printed Noise, "We haven't got a message really; the lyrics are open to interpretation. They're multidimensional. You can read into them what you like." The other Joy Division members have said that at the time, they paid little attention to the contents of Curtis' lyrics. In a 1987 interview with Option, Morris said that they "just thought the songs were sort of sympathetic and more uplifting than depressing. But everyone's got their own opinion." Deborah Curtis recalled that only with the release of Closer did many who were close to the singer realise "[h]is intentions and feelings were all there within the lyrics". The surviving members regret not seeing the warning signs in Curtis's lyrics. Morris said that "it was only after Ian died that we sat down and listened to the lyrics...you'd find yourself thinking, 'Oh my God, I missed this one'. Because I'd look at Ian's lyrics and think how clever he was putting himself in the position of someone else. I never believed he was writing about himself. Looking back, how could I have been so bleedin' stupid? Of course he was writing about himself. But I didn't go in and grab him and ask, 'What's up?' I have to live with that".
Live performances
In contrast to the sound of their studio recordings, Joy Division typically played loudly and aggressively during live performances. The band were especially unhappy with Hannett's mix of Unknown Pleasures, which reduced the abrasiveness of their live sound for a more cerebral and ghostly sound. According to Sumner "the music was loud and heavy, and we felt that Martin had toned it down, especially with the guitars".
During their live performances, the group did not interact with the audience; according to Paul Morley, "During a Joy Division set, outside of the songs, you'll be lucky to hear more than two or three words. Hello and goodbye. No introductions, no promotion." Curtis would often perform what became known as his "'dead fly' dance", as if imitating a seizure; his arms would "start flying in [a] semicircular, hypnotic curve". Simon Reynolds noted that Curtis's dancing style was reminiscent of an epileptic fit, and that he was dancing in the manner for some months before he was diagnosed with epilepsy. Live performances became problematic for Joy Division, due to Curtis's condition. Sumner later said, "We didn't have flashing lights, but sometimes a particular drum beat would do something to him. He'd go off in a trance for a bit, then he'd lose it and have an epileptic fit. We'd have to stop the show and carry him off to the dressing room where he'd cry his eyes out because this appalling thing had just happened to him".
Influences
Sumner wrote that Curtis was inspired by artists such as the Doors, Iggy Pop, David Bowie, Kraftwerk, the Velvet Underground and Neu!. Hook has also related that Curtis was particularly influenced by Iggy Pop's stage persona. The group were inspired by Kraftwerk's "marriage between humans and machines", and the inventiveness of their electronic music. Joy Division played Trans-Europe Express through the PA before they went on stage, "to get a momentum". Bowie's "Berlin Trilogy" elaborated with Brian Eno, influenced them; the "cold austerity" of the synthesisers on the b-sides of Heroes and Low albums, was a "music looking at the future". Morris cited the "unique style" of Velvet Underground's Maureen Tucker and the motorik drum beats, from Neu! and Can. Morris also credited Siouxsie and the Banshees because their "first drummer Kenny Morris played mostly toms" and "the sound of cymbals was forbidden". Hook said that "Siouxsie and the Banshees were one of our big influences ... The way the guitarist and the drummer played was a really unusual way of playing". Hook drew inspiration from the style of bassist Jean-Jacques Burnel and his early material with the Stranglers; he also credited Carol Kaye and her musical basslines on early 1970s work of the Temptations. Sumner mentioned "the raw, nasty, unpolished edge" in the guitars of the Rolling Stones, the simple riff of "Vicious" on Lou Reed's Transformer, and Neil Young. His musical horizon went up a notch with Jimi Hendrix, he realised "it wasn't about little catchy tunes ... it was what you could do sonically with a guitar."
Legacy
Despite their short career, Joy Division have exerted a wide-reaching influence. John Bush of AllMusic argues that Joy Division "became the first band in the post-punk movement by ... emphasizing not anger and energy but mood and expression, pointing ahead to the rise of melancholy alternative music in the '80s."
Joy Division have influenced bands including their contemporaries the Cure and U2, to later acts such as Bloc Party, Editors, Interpol, The Proclaimers, and Soundgarden. In 1980, U2 singer Bono said that Joy Division were "one of the most important bands of the last four or five years". Rapper Danny Brown named his album Atrocity Exhibition after the Joy Division song, whose title was partially inspired by the 1970 J. G. Ballard collection of condensed novels of the same name. In 2005 both New Order and Joy Division were inducted into the UK Music Hall of Fame.
The band's dark and gloomy sound, which Martin Hannett described in 1979 as "dancing music with Gothic overtones", presaged the gothic rock genre. While the term "gothic" originally described a "doomy atmosphere" in music of the late 1970s, the term was soon applied to specific bands like Bauhaus that followed in the wake of Joy Division and Siouxsie and the Banshees. Standard musical fixtures of early gothic rock bands included "high-pitched post-Joy Division basslines usurp[ing] the melodic role" and "vocals that were either near operatic and Teutonic or deep, droning alloys of Jim Morrison and Ian Curtis."
Joy Division have been dramatised in two biopics. 24 Hour Party People (2002) is a fictionalised account of Factory Records in which members of the band appear as supporting characters. Tony Wilson said of the film, "It's all true, it's all not true. It's not a fucking documentary," and that he favoured the "myth" over the truth. The 2007 film Control, directed by Anton Corbijn, is a biography of Ian Curtis (portrayed by Sam Riley) that uses Deborah Curtis's biography of her late husband, Touching from a Distance (1995), as its basis. Control had its international premiere on the opening night of Director's Fortnight at the 2007 Cannes Film Festival, where it was critically well received. That year Grant Gee directed the band documentary Joy Division.
Band members
Ian Curtis – lead vocals, guitar, melodica (1976–1980)
Bernard Sumner – lead guitar, keyboards, backing vocals, bass (1976–1980)
Peter Hook – bass, backing vocals, guitar (1976–1980)
Terry Mason – drums (1976–1977)
Tony Tabac – drums (1977)
Steve Brotherdale – drums (1977)
Stephen Morris – drums, percussion (1977–1980)
Timeline
Discography
Unknown Pleasures (1979)
Closer (1980)
References
Works cited
Further reading
External links
1976 establishments in England
1980 disestablishments in England
English gothic rock groups
English post-punk music groups
English new wave musical groups
Enigma Records artists
Factory Records artists
Music in Salford
Musical groups disestablished in 1980
Musical groups established in 1976
Musical groups from Greater Manchester
Musical quartets
New Order (band)
Qwest Records artists
Virgin Records artists | true | [
"\"The '59 Sound\" is a 2008 song by American rock band the Gaslight Anthem. Written by the band and produced by Ted Hutt, it is the title track of the band's second full-length album. Released as the album's lead single, the song reached the U.S. Hot Modern Rock Tracks chart in early 2009. The song, which received mostly favorable reviews from critics, was performed live by the band with Bruce Springsteen at the Glastonbury and Hard Rock Calling festivals in June 2009.\n\nBackground\n\"The '59 Sound\" was the first song written by singer-songwriter-guitarist \nBrian Fallon for the band's 2008 album, also titled The '59 Sound. \nFallon recalled, \"I never wrote a song like that before. And I thought it was better than anything else I ever wrote. I showed it to the guys [in the band] and they thought it was awesome. Then the next one was \"Great Expectations\" and we definitely knew where we were going with [the album].\" Fallon said the band had tried to emulate the sound of soul music from the late 1950s, because \"back then it seemed like there was a genuine feeling of excitement going on that I don't think is necessarily happening right now. It seems like when you look back on that era a lot of it is embodied in that Memphis sound, so it's just a giant celebratory thing.\" \nBassist Alex Levine noted that in addition to being inspired by soul music, he used to use a 1959 Fender Bassman. \nLyrically, the song is an elegy for a friend who died while the band was elsewhere performing a gig.\n\nRelease and reception\nReleased as a physical single in July 2008, \"The '59 Sound\" was released to U.S. modern rock radio stations in September. \nThe song entered the Billboard Alternative Songs chart in January 2009, peaked at number 35 in February, and spent 10 weeks on the chart. \nThe song's music video, directed by Kevin James Custer, premiered in July 2008. An alternate version, also directed by Custer and featuring the band's full performance of the song, debuted the following June. \nAlso that month, \"The '59 Sound\" was re-released in the UK as a physical single, backed with a live cover version of Pearl Jam's \"State of Love and Trust\", as well as a live performance of \"We Came to Dance\", a song from the Gaslight Anthem's first album, Sink or Swim. The single reached number 115 on the UK Singles Chart in July.\n\n\"The '59 Sound\" was generally well received by music critics, with Pitchfork Media writer Tom Breihan praising the bridge: \"It's simple, it's sincere, and it kills me every time.\" \nCMJ New Music writer Tyler Theofilos said the song is \"all about the exhilaration that goes along with raw, driving rock.\" \nJason MacNeil of PopMatters compared it to the Killers and Tim-era Replacements. \nThe song was ranked number 62 on Rolling Stone'''s list of \"The 100 Best Singles of 2008\".\n\nLive\nThe Gaslight Anthem performed \"The '59 Sound\" live on the talk shows Late Night with Conan O'Brien \nand Late Show with David Letterman''. \nThe band was joined onstage by Bruce Springsteen during performances of the song at Glastonbury Festival 2009 \nand Hard Rock Calling 2009. \nOf Springsteen's Glastonbury appearance with the band, Brian Fallon recalled, \"He just showed up. That was it. Nobody knew about it, nobody said anything, and he showed up an went, 'Can I play with you,' and we were, like, 'Absolutely. Yeah. All right.' It was literally three minutes before we went onstage.\"\nIn June 2011, band dedicated the song to the memory of Clarence Clemons during their set at the 2011 Glastonbury Festival. Clemons, a founding member of the E Street Band had died that same month due to a stroke.\n\nTrack listing\n\nCharts\n\nReferences\n\nExternal links\nWatch \"The '59 Sound\" video on YouTube\nWatch the alternate version of \"The '59 Sound\" video on YouTube\n\nThe Gaslight Anthem songs\n2008 debut singles\n2009 singles\n2008 songs",
"Sound and Beauty is the omnibus title of two plays by American playwright David Henry Hwang. Hwang's fourth play, The House of Sleeping Beauties, was adapted from Yasunari Kawabata's novella House of the Sleeping Beauties (1961). It tells the story of the narrator of that novella investigating the brothel that inspired the work. His fifth play, The Sound of a Voice, is a ghost story inspired by Japanese films and folk tales. The one-act plays were produced together and premiered on November 6, 1983 Off-Broadway at the Joseph Papp Public Theater. It was directed by John Lone, with Lone and Victor Wong.\n\nThe Sound of a Voice was later adapted as an opera of the same name (which encompassed two short works), with libretto by Hwang and music by Philip Glass. It was also adapted as a film, Sound of a Voice, written by Lane Nishikawa and Natsuko Ohama, and directed by Susan Hoffman.\n\nThe two plays are published as part of Trying to Find Chinatown: The Selected Plays by Theatre Communications Group and also in an acting editions published separately by Dramatists Play Service.\n\nPlays by David Henry Hwang\n1983 plays"
]
|
[
"Joy Division",
"Sound",
"What was their style of sound?",
"punk-inflected hard-rock",
"Did their style change over time?",
"songs got slower",
"Did their music sound differently from getting slower?",
"Hook's bass carried the melody, Bernard Sumner's guitar left gaps rather than filling up the group's sound",
"Was the sound of their music inspired by anything?",
"inspired by its energy"
]
| C_ded68eb0791c4dab8b6f4f32688dbb63_1 | Was the vocal sound of the band similar to another singer or group? | 5 | Besides it's inspiration, was the vocal sound of Joy Division similar to another singer or group? | Joy Division | Joy Division's style quickly evolved from their punk roots. Their sound during their early inception as Warsaw was described as generic and "undistinguished punk-inflected hard-rock". Critic Simon Reynolds observed how the band's originality only "really became apparent as the songs got slower", and their music took on a "sparse" quality. According to Reynolds, "Hook's bass carried the melody, Bernard Sumner's guitar left gaps rather than filling up the group's sound with dense riffage and Steve Morris' drums seemed to circle the rim of a crater." According to music critic Jon Savage, "Joy Division were not punk but they were directly inspired by its energy". In 1994 Sumner said the band's characteristic sound "came out naturally: I'm more rhythm and chords, and Hooky was melody. He used to play high lead bass because I liked my guitar to sound distorted, and the amplifier I had would only work when it was at full volume. When Hooky played low, he couldn't hear himself. Steve has his own style which is different to other drummers. To me, a drummer in the band is the clock, but Steve wouldn't be the clock, because he's passive: he would follow the rhythm of the band, which gave us our own edge." By Closer, Curtis had adapted a low baritone voice, drawing comparisons to Jim Morrison of the Doors (one of Curtis's favourite bands). Sumner largely acted as the band's director, a role he continued in New Order. While Sumner was the group's primary guitarist, Curtis played the instrument on a few recorded songs and during a few shows. Curtis hated playing guitar, but the band insisted he do so. Sumner said, "He played in quite a bizarre way and that to us was interesting, because no one else would play like Ian". During the recording sessions for Closer, Sumner began using self-built synthesisers and Hook used a six-string bass for more melody. Hannett "dedicated himself to capturing and intensifying Joy Division's eerie spatiality". Hannett believed punk rock was sonically conservative because of its refusal to use studio technology to create sonic space. The producer instead aimed to create a more expansive sound on the group's records. Hannett said, "[Joy Division] were a gift to a producer, because they didn't have a clue. They didn't argue". Hannett demanded clean and clear "sound separation" not only for individual instruments, but even for individual pieces of Morris's drumkit. Morris recalled, "Typically on tracks he considered to be potential singles, he'd get me to play each drum on its own to avoid any bleed-through of sound". Music journalist Richard Cook noted that Hannett's role was "crucial". There are "devices of distance" in his production and "the sound is an illusion of physicality". CANNOTANSWER | Jim Morrison of the Doors | Joy Division were an English rock band formed in Salford in 1976. The group consisted of vocalist Ian Curtis, guitarist/keyboardist Bernard Sumner, bassist Peter Hook and drummer Stephen Morris.
Sumner and Hook formed the band after attending a Sex Pistols concert. While Joy Division's first recordings were heavily influenced by early punk, they soon developed a sparse sound and style that made them one of the pioneers of the post-punk movement. Their self-released 1978 debut EP An Ideal for Living drew the attention of the Manchester television personality Tony Wilson, who signed them to his independent label Factory Records. Their debut album Unknown Pleasures, recorded with producer Martin Hannett, was released in 1979.
Curtis suffered from personal problems and health conditions, including a failing marriage, depression, and epilepsy. As the band's popularity grew, Curtis's condition made it increasingly difficult for him to perform; he occasionally experienced seizures on stage. He died by suicide on the eve of the band's first US/Canada tour in May 1980, aged 23. Joy Division's second and final album, Closer, was released two months later; it and the single "Love Will Tear Us Apart" became their highest charting releases.
The remaining members regrouped under the name New Order. They were successful throughout the next decade, blending post-punk with electronic and dance music influences.
History
Formation
On 4 June 1976, childhood friends Bernard Sumner and Peter Hook separately attended a Sex Pistols show at the Manchester Lesser Free Trade Hall. Both were inspired by the Pistols' performance. Sumner said that he felt the Pistols "destroyed the myth of being a pop star, of a musician being some kind of god that you had to worship". The following day Hook borrowed £35 from his mother to buy a bass guitar. They formed a band with Terry Mason, who had also attended the gig; Sumner bought a guitar, and Mason a drum kit. After their schoolfriend Martin Gresty declined an invitation to join as vocalist after getting a job at a factory, the band placed an advertisement for a vocalist in the Manchester Virgin Records shop. Ian Curtis, who knew them from earlier gigs, responded and was hired without audition. Sumner said that he "knew he was all right to get on with and that's what we based the whole group on. If we liked someone, they were in."
Buzzcocks manager Richard Boon and frontman Pete Shelley have both been credited with suggesting the band name "Stiff Kittens", but the band settled on "Warsaw" shortly before their first gig, a reference to David Bowie's song "Warszawa". Warsaw debuted on 29 May 1977 at the Electric Circus, supporting the Buzzcocks, Penetration and John Cooper Clarke. Tony Tabac played drums that night after joining the band two days earlier. Reviews in the NME by Paul Morley and in Sounds by Ian Wood brought them immediate national exposure. Mason became the band's manager and Tabac was replaced on drums in June 1977 by Steve Brotherdale, who also played in the punk band The Panik. Brotherdale tried to get Curtis to leave the band and join The Panik, and even had Curtis audition. On 18 July 1977, Warsaw recorded five demo tracks at Pennine Sound Studios, Oldham. Uneasy with Brotherdale's aggressive personality, the band fired him soon after the sessions: driving home from the studio, they pulled over and asked Brotherdale to check on a flat tyre; when he got out of the car, they drove off.
In August 1977, Warsaw placed an advertisement in a music shop window seeking a replacement drummer. Stephen Morris, who had attended the same school as Curtis, was the sole respondent. Deborah Curtis, Ian's wife, stated that Morris "fitted perfectly" with the band, and that with his addition Warsaw became a "complete 'family. To avoid confusion with the London punk band Warsaw Pakt, the band renamed themselves Joy Division in early 1978, borrowing the name from the sexual slavery wing of a Nazi concentration camp mentioned in the 1955 novel House of Dolls. On 14 December, the group recorded their debut EP, An Ideal for Living, at Pennine Sound Studio and played their final gig as Warsaw on New Year's Eve at the Swinging Apple in Liverpool. Billed as Warsaw to ensure an audience, the band played their first gig as Joy Division on 25 January 1978 at Pip's Disco in Manchester.
Early releases
Joy Division were approached by RCA Records to record a cover of Nolan "N.F." Porter's "Keep on Keepin' On" at a Manchester recording studio. The band spent late March and April 1978 writing and rehearsing material. During the Stiff/Chiswick Challenge concert at Manchester's Rafters club on 14 April, they caught the attention of music producer Tony Wilson and manager Rob Gretton. Curtis berated Wilson for not putting the group on his Granada Television show So It Goes; Wilson responded that Joy Division would be the next band he would showcase on TV. Gretton, the venue's resident DJ, was so impressed by the band's performance that he convinced them to take him on as their manager. Gretton, whose "dogged determination" was later credited for much of the band's public success, contributed the business skills to provide Joy Division with a better foundation for creativity. Joy Division spent the first week of May 1978 recording at Manchester's Arrow Studios. The band were unhappy with the Grapevine Records head John Anderson's insistence on adding synthesiser into the mix to soften the sound, and asked to be dropped from the contract with RCA.
Joy Division made their recorded debut in June 1978 when the band self-released An Ideal for Living, and two weeks later their track "At a Later Date" was featured on the compilation album Short Circuit: Live at the Electric Circus (which had been recorded live in October 1977). In the Melody Maker review, Chris Brazier said that it "has the familiar rough-hewn nature of home-produced records, but they're no mere drone-vendors—there are a lot of good ideas here, and they could be a very interesting band by now, seven months on". The packaging of An Ideal for Living—which featured a drawing of a Hitler Youth member on the cover—coupled with the nature of the band's name fuelled speculation about their political affiliations. While Hook and Sumner later said they were intrigued by fascism at the time, Morris believed that the group's dalliance with Nazi imagery came from a desire to keep memories of the sacrifices of their parents and grandparents during World War II alive. He argued that accusations of neo-Nazi sympathies merely provoked the band "to keep on doing it, because that's the kind of people we are".
In September 1978, Joy Division made their television debut performing "Shadowplay" on So It Goes, with an introduction by Wilson. In October, Joy Division contributed two tracks recorded with producer Martin Hannett to the compilation double-7" EP A Factory Sample, the first release by Tony Wilson's record label, Factory Records. In the NME review of the EP, Paul Morley praised the band as "the missing link" between Elvis Presley and Siouxsie and the Banshees. Joy Division joined Factory's roster, after buying themselves out of the RCA deal. Gretton was made a label partner to represent the interests of the band. On 27 December, during the drive home from gig at the Hope and Anchor in London, Curtis suffered his first recognised severe epileptic seizure and was hospitalised. Meanwhile, Joy Division's career progressed, and Curtis appeared on the 13 January 1979 cover of NME. That month the band recorded their session for BBC Radio 1 DJ John Peel. According to Deborah Curtis, "Sandwiched in between these two important landmarks was the realisation that Ian's illness was something we would have to learn to accommodate".
Unknown Pleasures and breakthrough
Joy Division's debut album, Unknown Pleasures, was recorded at Strawberry Studios, Stockport, in April 1979. Producer Martin Hannett significantly altered their live sound, a fact that greatly displeased the band at the time; however, in 2006, Hook said that in retrospect Hannett had done a good job and "created the Joy Division sound". The album cover was designed by Peter Saville, who went on to provide artwork for future Joy Division and New Order releases.
Unknown Pleasures was released in June and sold through its initial pressing of 10,000 copies. Wilson said the success turned the indie label into a true business and a "revolutionary force" that operated outside of the major record label system. Reviewing the album for Melody Maker, writer Jon Savage described the album as an "opaque manifesto" and declared it "one of the best, white, English, debut LPs of the year".
Joy Division performed on Granada TV again in July 1979, and made their only nationwide TV appearance in September on BBC2's Something Else. They supported the Buzzcocks in a 24-venue UK tour that began that October, which allowed the band to quit their regular jobs. The non-album single "Transmission" was released in November. Joy Division's burgeoning success drew a devoted following who were stereotyped as "intense young men dressed in grey overcoats".
Closer and health problems
Joy Division toured Europe in January 1980. Although the schedule was demanding, Curtis experienced only two grand mal seizures, both in the final two months of the tour. That March, the band recorded their second album, Closer, with Hannett at London's Britannia Row Studios. That month they released the "Licht und Blindheit" single, with "Atmosphere" as the A-side and "Dead Souls" as the B-side, on the French independent label Sordide Sentimental.
A lack of sleep and long hours destabilised Curtis's epilepsy, and his seizures became almost uncontrollable. He often had seizures during performances, which some audience members believed were part of the performance. The seizures left him feeling ashamed and depressed, and the band became increasingly worried about Curtis's condition. On 7 April 1980, Curtis attempted suicide by overdosing on his anti-seizure medication, phenobarbitone. The following evening, Joy Division were scheduled to play a gig at the Derby Hall in Bury. Curtis was too ill to perform, so at Gretton's insistence the band played a combined set with Alan Hempsall of Crispy Ambulance and Simon Topping of A Certain Ratio singing on the first few songs. When Topping came back towards the end of the set, some audience members threw bottles at the stage. Curtis's ill health led to the cancellation of several other gigs that April. Joy Division's final live performance was held at the University of Birmingham's High Hall on 2 May, and included their only performance of "Ceremony", one of the last songs written by Curtis.
Hannett's production has been widely praised. However, as with Unknown Pleasures, both Hook and Sumner were unhappy with the production. Hook said that when he heard the final mix of "Atrocity Exhibition" he was disappointed that the abrasiveness had been toned down. He wrote; "I was like, head in hands, 'Oh fucking hell, it's happening again ... Martin had fucking melted the guitar with his Marshall Time Waster. Made it sound like someone strangling a cat and, to my mind, absolutely killed the song. I was so annoyed with him and went in and gave him a piece of my mind but he just turned round and told me to fuck off."
Curtis' suicide and aftermath
Joy Division were scheduled to commence their first US/Canada tour in May 1980. Curtis had expressed enthusiasm about the tour, but his relationship with his wife, Deborah, was under strain; Deborah was excluded from the band's inner circle, and Curtis was having an affair with Belgian journalist and music promoter Annik Honoré, whom he met on tour in Europe in 1979. He was also anxious about how American audiences would react to his epilepsy.
The evening before the band were due to depart for America, Curtis returned to his Macclesfield home to talk to Deborah. He asked her to drop an impending divorce suit, and asked her to leave him alone in the house until he caught a train to Manchester the following morning. Early on 18 May 1980, having spent the night watching the Werner Herzog film Stroszek, Curtis hanged himself in his kitchen. Deborah discovered his body later that day when she returned.
The suicide shocked the band and their management. In 2005, Wilson said: "I think all of us made the mistake of not thinking his suicide was going to happen ... We all completely underestimated the danger. We didn't take it seriously. That's how stupid we were." Music critic Simon Reynolds said Curtis's suicide "made for instant myth". Jon Savage's obituary said that "now no one will remember what his work with Joy Division was like when he was alive; it will be perceived as tragic rather than courageous". In June 1980, Joy Division's single "Love Will Tear Us Apart" was released, which hit number thirteen on the UK Singles Chart. In July 1980, Closer was released, and peaked at number six on the UK Albums Chart. NME reviewer Charles Shaar Murray wrote, "Closer is as magnificent a memorial (for 'Joy Division' as much as for Ian Curtis) as any post-Presley popular musician could have."
Morris said that even without Curtis's death, it is unlikely that Joy Division would have endured. The members had made a pact long before Curtis's death that, should any member leave, the remaining members would change the band name. The band re-formed as New Order, with Sumner on vocals; they later recruited Morris's girlfriend Gillian Gilbert as keyboardist and second guitarist. Gilbert had befriended the band and played guitar at a Joy Division performance when Curtis had been unable to play.
New Order's debut single, "Ceremony" (1981), was formed from the last two songs written with Curtis. New Order struggled in their early years to escape the shadow of Joy Division, but went on to achieve far greater commercial success with a different, more upbeat and dance-orientated sound.
Various Joy Division outtakes and live material have been released. Still, featuring live tracks and rare recordings, was issued in 1981. Factory issued the Substance compilation in 1988, including several out-of-print singles. Permanent was released in 1995 by London Records, which had acquired the Joy Division catalogue after Factory's 1992 bankruptcy. A comprehensive box set, Heart and Soul, appeared in 1997.
Musical style
Sound
Joy Division took time to develop their style and quickly evolved from their punk roots. Their sound during their early inception as Warsaw was described as fairly generic and "undistinguished punk-inflected hard-rock". Critic Simon Reynolds observed how the band's originality only "really became apparent as the songs got slower", and their music took on a "sparse" quality. According to Reynolds, "Hook's bass carried the melody, Bernard Sumner's guitar left gaps rather than filling up the group's sound with dense riffage and Steve Morris' drums seemed to circle the rim of a crater." According to music critic Jon Savage, "Joy Division were not punk but they were directly inspired by its energy". In 1994 Sumner said the band's characteristic sound "came out naturally: I'm more rhythm and chords, and Hooky was melody. He used to play high lead bass because I liked my guitar to sound distorted, and the amplifier I had would only work when it was at full volume. When Hooky played low, he couldn't hear himself. Steve has his own style which is different to other drummers. To me, a drummer in the band is the clock, but Steve wouldn't be the clock, because he's passive: he would follow the rhythm of the band, which gave us our own edge." By Closer, Curtis had adapted a low baritone voice, drawing comparisons to Jim Morrison of the Doors (one of Curtis's favourite bands).
Sumner largely acted as the band's director, a role he continued in New Order. While Sumner was the group's primary guitarist, Curtis played the instrument on a few recorded songs and during a few shows. Curtis hated playing guitar, but the band insisted he do so. Sumner said, "He played in quite a bizarre way and that to us was interesting, because no one else would play like Ian". During the recording sessions for Closer, Sumner began using self-built synthesisers and Hook used a six-string bass for more melody.
Producer Martin Hannett "dedicated himself to capturing and intensifying Joy Division's eerie spatiality". Hannett believed punk rock was sonically conservative because of its refusal to use studio technology to create sonic space. The producer instead aimed to create a more expansive sound on the group's records. Hannett said, "[Joy Division] were a gift to a producer, because they didn't have a clue. They didn't argue". Hannett demanded clean and clear "sound separation" not only for individual instruments, but even for individual pieces of Morris's drumkit. Morris recalled, "Typically on tracks he considered to be potential singles, he'd get me to play each drum on its own to avoid any bleed-through of sound". Music journalist Richard Cook noted that Hannett's role was "crucial". There are "devices of distance" in his production and "the sound is an illusion of physicality".
Lyrics
Curtis was the band's sole lyricist, and he typically composed his lyrics in a notebook, independently of the eventual music to evolve. The music itself was largely written by Sumner and Hook as the group jammed during rehearsals. Curtis's imagery and word choice often referenced "coldness, pressure, darkness, crisis, failure, collapse, loss of control". In 1979, NME journalist Paul Rambali wrote, "The themes of Joy Division's music are sorrowful, painful and sometimes deeply sad." Music journalist Jon Savage wrote that "Curtis's great lyrical achievement was to capture the underlying reality of a society in turmoil, and to make it both universal and personal," while noting that "the lyrics reflected, in mood and approach, his interest in romantic and science-fiction literature." Critic Robert Palmer wrote that William S. Burroughs and J. G. Ballard were "obvious influences" to Curtis, and Morris also remembered the singer reading T. S. Eliot. Deborah Curtis also remembered Curtis reading works by writers such as Fyodor Dostoevsky, Friedrich Nietzsche, Jean-Paul Sartre, Franz Kafka, and Hermann Hesse.
Curtis was unwilling to explain the meaning behind his lyrics and Joy Division releases were absent of any lyric sheets. He told the fanzine Printed Noise, "We haven't got a message really; the lyrics are open to interpretation. They're multidimensional. You can read into them what you like." The other Joy Division members have said that at the time, they paid little attention to the contents of Curtis' lyrics. In a 1987 interview with Option, Morris said that they "just thought the songs were sort of sympathetic and more uplifting than depressing. But everyone's got their own opinion." Deborah Curtis recalled that only with the release of Closer did many who were close to the singer realise "[h]is intentions and feelings were all there within the lyrics". The surviving members regret not seeing the warning signs in Curtis's lyrics. Morris said that "it was only after Ian died that we sat down and listened to the lyrics...you'd find yourself thinking, 'Oh my God, I missed this one'. Because I'd look at Ian's lyrics and think how clever he was putting himself in the position of someone else. I never believed he was writing about himself. Looking back, how could I have been so bleedin' stupid? Of course he was writing about himself. But I didn't go in and grab him and ask, 'What's up?' I have to live with that".
Live performances
In contrast to the sound of their studio recordings, Joy Division typically played loudly and aggressively during live performances. The band were especially unhappy with Hannett's mix of Unknown Pleasures, which reduced the abrasiveness of their live sound for a more cerebral and ghostly sound. According to Sumner "the music was loud and heavy, and we felt that Martin had toned it down, especially with the guitars".
During their live performances, the group did not interact with the audience; according to Paul Morley, "During a Joy Division set, outside of the songs, you'll be lucky to hear more than two or three words. Hello and goodbye. No introductions, no promotion." Curtis would often perform what became known as his "'dead fly' dance", as if imitating a seizure; his arms would "start flying in [a] semicircular, hypnotic curve". Simon Reynolds noted that Curtis's dancing style was reminiscent of an epileptic fit, and that he was dancing in the manner for some months before he was diagnosed with epilepsy. Live performances became problematic for Joy Division, due to Curtis's condition. Sumner later said, "We didn't have flashing lights, but sometimes a particular drum beat would do something to him. He'd go off in a trance for a bit, then he'd lose it and have an epileptic fit. We'd have to stop the show and carry him off to the dressing room where he'd cry his eyes out because this appalling thing had just happened to him".
Influences
Sumner wrote that Curtis was inspired by artists such as the Doors, Iggy Pop, David Bowie, Kraftwerk, the Velvet Underground and Neu!. Hook has also related that Curtis was particularly influenced by Iggy Pop's stage persona. The group were inspired by Kraftwerk's "marriage between humans and machines", and the inventiveness of their electronic music. Joy Division played Trans-Europe Express through the PA before they went on stage, "to get a momentum". Bowie's "Berlin Trilogy" elaborated with Brian Eno, influenced them; the "cold austerity" of the synthesisers on the b-sides of Heroes and Low albums, was a "music looking at the future". Morris cited the "unique style" of Velvet Underground's Maureen Tucker and the motorik drum beats, from Neu! and Can. Morris also credited Siouxsie and the Banshees because their "first drummer Kenny Morris played mostly toms" and "the sound of cymbals was forbidden". Hook said that "Siouxsie and the Banshees were one of our big influences ... The way the guitarist and the drummer played was a really unusual way of playing". Hook drew inspiration from the style of bassist Jean-Jacques Burnel and his early material with the Stranglers; he also credited Carol Kaye and her musical basslines on early 1970s work of the Temptations. Sumner mentioned "the raw, nasty, unpolished edge" in the guitars of the Rolling Stones, the simple riff of "Vicious" on Lou Reed's Transformer, and Neil Young. His musical horizon went up a notch with Jimi Hendrix, he realised "it wasn't about little catchy tunes ... it was what you could do sonically with a guitar."
Legacy
Despite their short career, Joy Division have exerted a wide-reaching influence. John Bush of AllMusic argues that Joy Division "became the first band in the post-punk movement by ... emphasizing not anger and energy but mood and expression, pointing ahead to the rise of melancholy alternative music in the '80s."
Joy Division have influenced bands including their contemporaries the Cure and U2, to later acts such as Bloc Party, Editors, Interpol, The Proclaimers, and Soundgarden. In 1980, U2 singer Bono said that Joy Division were "one of the most important bands of the last four or five years". Rapper Danny Brown named his album Atrocity Exhibition after the Joy Division song, whose title was partially inspired by the 1970 J. G. Ballard collection of condensed novels of the same name. In 2005 both New Order and Joy Division were inducted into the UK Music Hall of Fame.
The band's dark and gloomy sound, which Martin Hannett described in 1979 as "dancing music with Gothic overtones", presaged the gothic rock genre. While the term "gothic" originally described a "doomy atmosphere" in music of the late 1970s, the term was soon applied to specific bands like Bauhaus that followed in the wake of Joy Division and Siouxsie and the Banshees. Standard musical fixtures of early gothic rock bands included "high-pitched post-Joy Division basslines usurp[ing] the melodic role" and "vocals that were either near operatic and Teutonic or deep, droning alloys of Jim Morrison and Ian Curtis."
Joy Division have been dramatised in two biopics. 24 Hour Party People (2002) is a fictionalised account of Factory Records in which members of the band appear as supporting characters. Tony Wilson said of the film, "It's all true, it's all not true. It's not a fucking documentary," and that he favoured the "myth" over the truth. The 2007 film Control, directed by Anton Corbijn, is a biography of Ian Curtis (portrayed by Sam Riley) that uses Deborah Curtis's biography of her late husband, Touching from a Distance (1995), as its basis. Control had its international premiere on the opening night of Director's Fortnight at the 2007 Cannes Film Festival, where it was critically well received. That year Grant Gee directed the band documentary Joy Division.
Band members
Ian Curtis – lead vocals, guitar, melodica (1976–1980)
Bernard Sumner – lead guitar, keyboards, backing vocals, bass (1976–1980)
Peter Hook – bass, backing vocals, guitar (1976–1980)
Terry Mason – drums (1976–1977)
Tony Tabac – drums (1977)
Steve Brotherdale – drums (1977)
Stephen Morris – drums, percussion (1977–1980)
Timeline
Discography
Unknown Pleasures (1979)
Closer (1980)
References
Works cited
Further reading
External links
1976 establishments in England
1980 disestablishments in England
English gothic rock groups
English post-punk music groups
English new wave musical groups
Enigma Records artists
Factory Records artists
Music in Salford
Musical groups disestablished in 1980
Musical groups established in 1976
Musical groups from Greater Manchester
Musical quartets
New Order (band)
Qwest Records artists
Virgin Records artists | true | [
"The Gaither Vocal Band is an American southern gospel vocal group, named after its founder and leader Bill Gaither. On March 1, 2017, it was announced that the Gaither Vocal Band lineup consisted of Reggie Smith, Wes Hampton, Adam Crabb, Todd Suttles, and Bill Gaither. Although the group started out recording contemporary Christian music in the 1980s, it became known for southern gospel after the popularity of the Gaither Homecoming videos.\n\nThe lineup of the band changes often, with artists leaving to work on solo careers, and new and old ones coming to replace them. Besides Bill Gaither, singers with the longest tenure in the band include Guy Penrod (1995–2008), Mark Lowry (1988–2002, 2009–13), Michael English (1985–94, 2009–13), David Phelps (1997–2005, 2009–17) and Wes Hampton (2005–present).\n\nThe band has released 29 albums (not including compilations), at least 19 of which have charted. The band has also released 10 DVDs, which feature many other Christian artists as well. The Gaither Vocal Band has been honored with two Grammys and 17 Dove Awards.\n\nHistory\n\nBeginnings\nThe Gaither Vocal Band is named after gospel legend and leader Bill Gaither. It was the successor-group of the Bill Gaither Trio. By the 1980s, Bill Gaither, along with wife Gloria Gaither, were both very successful songwriters. For example, their song, \"He Touched Me\" was covered by Elvis Presley, after which he even named his album He Touched Me. Presley won a Grammy for the album. Bill Gaither felt that his trio had reached its peak in the mid-1980s, but his desire to make another gospel hit kept the trio going.\n\nThe original Vocal Band (called the New Gaither Vocal Band) was formed spontaneously, backstage of a Gaither Trio concert. It consisted of Bill Gaither and Gary McSpadden of the trio, along with two of the trio's backup singers, Steve Green and Lee Young. The quartet sang \"Your First Day in Heaven\" on stage that night. Their debut album, the self-titled The New Gaither Vocal Band, debuted in 1981.\n\nAccording to the liner notes of the CD compilation The Best of the GVB, the term \"vocal band\" was used instead of \"quartet\" because it did not limit Gaither in terms of sound or number of group members. According to Steve Green on the Gaither Vocal Band Reunion video, he came up with the name and convinced Gaither to use it because he, at the time, did not want to be associated with \"quartet music\".\n\nLee Young left the group in 1982, and Jon Mohr was hired as the new bass singer. They then recorded the album Passin' The Faith Along. Later, tenor Steve Green left and Larnelle Harris was hired. This group cut the New Point Of View album before Mohr left.\n\nWidespread popularity\nMichael English was hired as the new lead singer, so McSpadden was moved down to baritone, and Gaither dropped to the lowest part. At this point the group dropped the \"new\" part of their name. Although the previous album (New Point of View) had been more contemporary than its predecessors, the album with this version of the group (One X 1) took it even further. After this album, Larnelle left and was replaced by Lemuel Miller. The group did not record an album with Lemuel before he too left. He was replaced by Imperials alumnus, Jim Murray. This line up cut one album (Wings) before Gary McSpadden left to start his solo career. Mark Lowry was convinced to replace him. Along with a great voice, Lowry added comedy to the mix. Their Gospel roots project Homecoming in 1991 caused most Southern Gospel fans to welcome the Vocal Band with open arms. Jim Murray left and was replaced by Terry Franklin. The album Southern Classics was released in 1993 with the hit \"I Bowed On My Knees\". (This song was co-writers by Jeremy Ward)\n\nLater Michael English left. He was replaced by Buddy Mullins. Mullins was only a temporary fill-in, but he was included on the album Testify. Terry Franklin soon left and was replaced by yet another Imperials alumnus, Jonathan Pierce (formerly known as Jonathan Hildreth, his first and last name—then changed to his first and middle name). Strengthened by the popularity of the Homecoming video series, the Vocal Band added Guy Penrod at lead. After Pierce's departure, Gaither hired David Phelps at tenor. After Lowry's departure, Imperials alumnus Russ Taff sang baritone for a couple of years. Marshall Hall was his replacement. Wes Hampton succeeded Phelps in 2005.\n\nThe group has had three number one songs on the Singing News chart. \"Yes, I Know\" held the top position from July to October 1997, as did \"I Will Go On\" in November 2006. \"Greatly Blessed\" was their third number one single. The group has routinely performed classic Southern Gospel songs including many written by Bill and Gloria Gaither like \"He Touched Me\", \"I Believe In A Hill Called Mount Calvary\", and \"Sinner Saved By Grace.\"\n\nReunion\nIn July 2008, the vocal band recorded a reunion DVD at the Gaither Studios — The Gaither Vocal Band Reunion, Volumes 1 and 2. Except for Jonathan Pierce, Terry Franklin, and Lemuel Miller, the former and present members appeared and performed. The two CDs debuted in the top two positions on Billboards Contemporary Christian Album chart, marking the Gaither Vocal Band's first No. 1 on the Christian Album chart. The DVDs of the same title debuted in the No. 1 and No. 2 positions on the Music Video charts as well. It also garnered a Grammy Award for Best Southern, Country, Bluegrass Gospel Album.\n\nThe quintet\n\nIn January 2009, Marshall Hall and Guy Penrod left. Gaither brought back some former members: Michael English as lead vocal, Mark Lowry as baritone and David Phelps as tenor. The first album by this five-member version was Reunited, released in September 2009. It was also the first album of the vocal band ever to feature only songs written by Bill and Gloria Gaither. A live album called Better Day was released in January 2010. In August 2010, they released the long-awaited album called Greatly Blessed, followed by I Am A Promise, a children's album, released in August 2011. Their most recent album was Pure & Simple, released in September 2012.\n\nIn October 2013, it was announced that Mark Lowry and Michael English would be leaving the group to devote more time to their solo careers. English's departure was immediate whereas Lowry stayed on until they could find another baritone to replace him. Their last album as members, Hymns, was released in March 2014 and was nominated for a Grammy Award the following December. After their departure, several guests filled-in until two new members could be found. In January 2014, it was announced that Adam Crabb (of The Crabb Family) would join the group as the fourth member and lead singer. Todd Suttles joined the group as the baritone singer one month later. \n\nFollowing their formation, the new quintet would go on to release a limited edition album, The New Edition, which could only be purchased at concert performances. In October 2014, the group released their first album together, entitled Sometimes it Takes a Mountain. Five months later, that album was followed by a two-DVD live performance release and the release of their second album (a live performance album), Happy Rhythm. Upon release, the DVDs debuted at the top of Billboards Music Video chart (Sometimes it Takes a Mountain at #1 and Happy Rhythm at #2). In August 2016, the group's album Better Together was released. \n\nIn March 2017, it was announced that David Phelps would be leaving the group on April 1, and Reggie Smith would join the group as tenor.\n\nIn October 2017, this line-up released their first studio album, entitled We Have This Moment.\n\nIn October 2018, there was another Gaither Vocal Band Reunion. It was a two-day concert, recorded live. Except for Steve Green, all of the past and present members who were at the first reunion performed.\n\nMembers (past and present)\n\nLine-ups\n\nTimeline\nSingers are listed in the following order: (1) tenor, (2) lead, (3) baritone, (4) bass.\n\nDiscography\n\nAwards and nominations\n\nGrammy Awards\n\nGMA Dove Awards\n\nReferences\n\nExternal links\n \n\nAmerican Christian musical groups\nGrammy Award winners\nMusical groups established in 1981\nMusical groups from Indiana\nSouthern gospel performers",
"Arjun Chandy is an Indo-american singer, arranger, studio vocalist and vocal group coach from Dallas, Texas.\n\nCareer \nChandy is from a family of artists. His infant years were spent heavily immersed in Indian classical music. He completed his vocal arangetram in Dallas and was accompanied by Shri Poovalur Sriji on the Mridangam and Shri Ramana Indrakumar on the Ghatam. During his school days, he learned to read music and studied music theory, joining the school choir. This helped to understand western classical music. When he was 14, he started singing for a quartet in middle school. \n\nAt the age of 15, after getting involved in the world of jazz, he started working professionally, conducting and arranging music for groups in United States. Later, he became a part of The Vocal Majority in the U.S. Chandy contributed to the formation of \"NAFS- The Band\" when A. R. Rahman called him to Chennai at the end of 2013. Chandy is presently the band's director and conductor. He spent a year post 2013 to train the band. \n\nIn an interview with Seychelles News Agency, Chandy said: \"Rahman always wanted to put together a vocal band of sorts, because he loves vocal groups and harmonies, not necessarily a capella but just the sound of a group singing, even if it's a large choir, if there's vocal harmony, he's a big fan of jazz and all these things.\"\n\nReferences\n\nIndian male playback singers\nYear of birth missing (living people)\nSingers from Chennai\nLiving people"
]
|
[
"Joy Division",
"Sound",
"What was their style of sound?",
"punk-inflected hard-rock",
"Did their style change over time?",
"songs got slower",
"Did their music sound differently from getting slower?",
"Hook's bass carried the melody, Bernard Sumner's guitar left gaps rather than filling up the group's sound",
"Was the sound of their music inspired by anything?",
"inspired by its energy",
"Was the vocal sound of the band similar to another singer or group?",
"Jim Morrison of the Doors"
]
| C_ded68eb0791c4dab8b6f4f32688dbb63_1 | Did they tour with Doors? | 6 | Did Joy Division tour with Doors? | Joy Division | Joy Division's style quickly evolved from their punk roots. Their sound during their early inception as Warsaw was described as generic and "undistinguished punk-inflected hard-rock". Critic Simon Reynolds observed how the band's originality only "really became apparent as the songs got slower", and their music took on a "sparse" quality. According to Reynolds, "Hook's bass carried the melody, Bernard Sumner's guitar left gaps rather than filling up the group's sound with dense riffage and Steve Morris' drums seemed to circle the rim of a crater." According to music critic Jon Savage, "Joy Division were not punk but they were directly inspired by its energy". In 1994 Sumner said the band's characteristic sound "came out naturally: I'm more rhythm and chords, and Hooky was melody. He used to play high lead bass because I liked my guitar to sound distorted, and the amplifier I had would only work when it was at full volume. When Hooky played low, he couldn't hear himself. Steve has his own style which is different to other drummers. To me, a drummer in the band is the clock, but Steve wouldn't be the clock, because he's passive: he would follow the rhythm of the band, which gave us our own edge." By Closer, Curtis had adapted a low baritone voice, drawing comparisons to Jim Morrison of the Doors (one of Curtis's favourite bands). Sumner largely acted as the band's director, a role he continued in New Order. While Sumner was the group's primary guitarist, Curtis played the instrument on a few recorded songs and during a few shows. Curtis hated playing guitar, but the band insisted he do so. Sumner said, "He played in quite a bizarre way and that to us was interesting, because no one else would play like Ian". During the recording sessions for Closer, Sumner began using self-built synthesisers and Hook used a six-string bass for more melody. Hannett "dedicated himself to capturing and intensifying Joy Division's eerie spatiality". Hannett believed punk rock was sonically conservative because of its refusal to use studio technology to create sonic space. The producer instead aimed to create a more expansive sound on the group's records. Hannett said, "[Joy Division] were a gift to a producer, because they didn't have a clue. They didn't argue". Hannett demanded clean and clear "sound separation" not only for individual instruments, but even for individual pieces of Morris's drumkit. Morris recalled, "Typically on tracks he considered to be potential singles, he'd get me to play each drum on its own to avoid any bleed-through of sound". Music journalist Richard Cook noted that Hannett's role was "crucial". There are "devices of distance" in his production and "the sound is an illusion of physicality". CANNOTANSWER | not | Joy Division were an English rock band formed in Salford in 1976. The group consisted of vocalist Ian Curtis, guitarist/keyboardist Bernard Sumner, bassist Peter Hook and drummer Stephen Morris.
Sumner and Hook formed the band after attending a Sex Pistols concert. While Joy Division's first recordings were heavily influenced by early punk, they soon developed a sparse sound and style that made them one of the pioneers of the post-punk movement. Their self-released 1978 debut EP An Ideal for Living drew the attention of the Manchester television personality Tony Wilson, who signed them to his independent label Factory Records. Their debut album Unknown Pleasures, recorded with producer Martin Hannett, was released in 1979.
Curtis suffered from personal problems and health conditions, including a failing marriage, depression, and epilepsy. As the band's popularity grew, Curtis's condition made it increasingly difficult for him to perform; he occasionally experienced seizures on stage. He died by suicide on the eve of the band's first US/Canada tour in May 1980, aged 23. Joy Division's second and final album, Closer, was released two months later; it and the single "Love Will Tear Us Apart" became their highest charting releases.
The remaining members regrouped under the name New Order. They were successful throughout the next decade, blending post-punk with electronic and dance music influences.
History
Formation
On 4 June 1976, childhood friends Bernard Sumner and Peter Hook separately attended a Sex Pistols show at the Manchester Lesser Free Trade Hall. Both were inspired by the Pistols' performance. Sumner said that he felt the Pistols "destroyed the myth of being a pop star, of a musician being some kind of god that you had to worship". The following day Hook borrowed £35 from his mother to buy a bass guitar. They formed a band with Terry Mason, who had also attended the gig; Sumner bought a guitar, and Mason a drum kit. After their schoolfriend Martin Gresty declined an invitation to join as vocalist after getting a job at a factory, the band placed an advertisement for a vocalist in the Manchester Virgin Records shop. Ian Curtis, who knew them from earlier gigs, responded and was hired without audition. Sumner said that he "knew he was all right to get on with and that's what we based the whole group on. If we liked someone, they were in."
Buzzcocks manager Richard Boon and frontman Pete Shelley have both been credited with suggesting the band name "Stiff Kittens", but the band settled on "Warsaw" shortly before their first gig, a reference to David Bowie's song "Warszawa". Warsaw debuted on 29 May 1977 at the Electric Circus, supporting the Buzzcocks, Penetration and John Cooper Clarke. Tony Tabac played drums that night after joining the band two days earlier. Reviews in the NME by Paul Morley and in Sounds by Ian Wood brought them immediate national exposure. Mason became the band's manager and Tabac was replaced on drums in June 1977 by Steve Brotherdale, who also played in the punk band The Panik. Brotherdale tried to get Curtis to leave the band and join The Panik, and even had Curtis audition. On 18 July 1977, Warsaw recorded five demo tracks at Pennine Sound Studios, Oldham. Uneasy with Brotherdale's aggressive personality, the band fired him soon after the sessions: driving home from the studio, they pulled over and asked Brotherdale to check on a flat tyre; when he got out of the car, they drove off.
In August 1977, Warsaw placed an advertisement in a music shop window seeking a replacement drummer. Stephen Morris, who had attended the same school as Curtis, was the sole respondent. Deborah Curtis, Ian's wife, stated that Morris "fitted perfectly" with the band, and that with his addition Warsaw became a "complete 'family. To avoid confusion with the London punk band Warsaw Pakt, the band renamed themselves Joy Division in early 1978, borrowing the name from the sexual slavery wing of a Nazi concentration camp mentioned in the 1955 novel House of Dolls. On 14 December, the group recorded their debut EP, An Ideal for Living, at Pennine Sound Studio and played their final gig as Warsaw on New Year's Eve at the Swinging Apple in Liverpool. Billed as Warsaw to ensure an audience, the band played their first gig as Joy Division on 25 January 1978 at Pip's Disco in Manchester.
Early releases
Joy Division were approached by RCA Records to record a cover of Nolan "N.F." Porter's "Keep on Keepin' On" at a Manchester recording studio. The band spent late March and April 1978 writing and rehearsing material. During the Stiff/Chiswick Challenge concert at Manchester's Rafters club on 14 April, they caught the attention of music producer Tony Wilson and manager Rob Gretton. Curtis berated Wilson for not putting the group on his Granada Television show So It Goes; Wilson responded that Joy Division would be the next band he would showcase on TV. Gretton, the venue's resident DJ, was so impressed by the band's performance that he convinced them to take him on as their manager. Gretton, whose "dogged determination" was later credited for much of the band's public success, contributed the business skills to provide Joy Division with a better foundation for creativity. Joy Division spent the first week of May 1978 recording at Manchester's Arrow Studios. The band were unhappy with the Grapevine Records head John Anderson's insistence on adding synthesiser into the mix to soften the sound, and asked to be dropped from the contract with RCA.
Joy Division made their recorded debut in June 1978 when the band self-released An Ideal for Living, and two weeks later their track "At a Later Date" was featured on the compilation album Short Circuit: Live at the Electric Circus (which had been recorded live in October 1977). In the Melody Maker review, Chris Brazier said that it "has the familiar rough-hewn nature of home-produced records, but they're no mere drone-vendors—there are a lot of good ideas here, and they could be a very interesting band by now, seven months on". The packaging of An Ideal for Living—which featured a drawing of a Hitler Youth member on the cover—coupled with the nature of the band's name fuelled speculation about their political affiliations. While Hook and Sumner later said they were intrigued by fascism at the time, Morris believed that the group's dalliance with Nazi imagery came from a desire to keep memories of the sacrifices of their parents and grandparents during World War II alive. He argued that accusations of neo-Nazi sympathies merely provoked the band "to keep on doing it, because that's the kind of people we are".
In September 1978, Joy Division made their television debut performing "Shadowplay" on So It Goes, with an introduction by Wilson. In October, Joy Division contributed two tracks recorded with producer Martin Hannett to the compilation double-7" EP A Factory Sample, the first release by Tony Wilson's record label, Factory Records. In the NME review of the EP, Paul Morley praised the band as "the missing link" between Elvis Presley and Siouxsie and the Banshees. Joy Division joined Factory's roster, after buying themselves out of the RCA deal. Gretton was made a label partner to represent the interests of the band. On 27 December, during the drive home from gig at the Hope and Anchor in London, Curtis suffered his first recognised severe epileptic seizure and was hospitalised. Meanwhile, Joy Division's career progressed, and Curtis appeared on the 13 January 1979 cover of NME. That month the band recorded their session for BBC Radio 1 DJ John Peel. According to Deborah Curtis, "Sandwiched in between these two important landmarks was the realisation that Ian's illness was something we would have to learn to accommodate".
Unknown Pleasures and breakthrough
Joy Division's debut album, Unknown Pleasures, was recorded at Strawberry Studios, Stockport, in April 1979. Producer Martin Hannett significantly altered their live sound, a fact that greatly displeased the band at the time; however, in 2006, Hook said that in retrospect Hannett had done a good job and "created the Joy Division sound". The album cover was designed by Peter Saville, who went on to provide artwork for future Joy Division and New Order releases.
Unknown Pleasures was released in June and sold through its initial pressing of 10,000 copies. Wilson said the success turned the indie label into a true business and a "revolutionary force" that operated outside of the major record label system. Reviewing the album for Melody Maker, writer Jon Savage described the album as an "opaque manifesto" and declared it "one of the best, white, English, debut LPs of the year".
Joy Division performed on Granada TV again in July 1979, and made their only nationwide TV appearance in September on BBC2's Something Else. They supported the Buzzcocks in a 24-venue UK tour that began that October, which allowed the band to quit their regular jobs. The non-album single "Transmission" was released in November. Joy Division's burgeoning success drew a devoted following who were stereotyped as "intense young men dressed in grey overcoats".
Closer and health problems
Joy Division toured Europe in January 1980. Although the schedule was demanding, Curtis experienced only two grand mal seizures, both in the final two months of the tour. That March, the band recorded their second album, Closer, with Hannett at London's Britannia Row Studios. That month they released the "Licht und Blindheit" single, with "Atmosphere" as the A-side and "Dead Souls" as the B-side, on the French independent label Sordide Sentimental.
A lack of sleep and long hours destabilised Curtis's epilepsy, and his seizures became almost uncontrollable. He often had seizures during performances, which some audience members believed were part of the performance. The seizures left him feeling ashamed and depressed, and the band became increasingly worried about Curtis's condition. On 7 April 1980, Curtis attempted suicide by overdosing on his anti-seizure medication, phenobarbitone. The following evening, Joy Division were scheduled to play a gig at the Derby Hall in Bury. Curtis was too ill to perform, so at Gretton's insistence the band played a combined set with Alan Hempsall of Crispy Ambulance and Simon Topping of A Certain Ratio singing on the first few songs. When Topping came back towards the end of the set, some audience members threw bottles at the stage. Curtis's ill health led to the cancellation of several other gigs that April. Joy Division's final live performance was held at the University of Birmingham's High Hall on 2 May, and included their only performance of "Ceremony", one of the last songs written by Curtis.
Hannett's production has been widely praised. However, as with Unknown Pleasures, both Hook and Sumner were unhappy with the production. Hook said that when he heard the final mix of "Atrocity Exhibition" he was disappointed that the abrasiveness had been toned down. He wrote; "I was like, head in hands, 'Oh fucking hell, it's happening again ... Martin had fucking melted the guitar with his Marshall Time Waster. Made it sound like someone strangling a cat and, to my mind, absolutely killed the song. I was so annoyed with him and went in and gave him a piece of my mind but he just turned round and told me to fuck off."
Curtis' suicide and aftermath
Joy Division were scheduled to commence their first US/Canada tour in May 1980. Curtis had expressed enthusiasm about the tour, but his relationship with his wife, Deborah, was under strain; Deborah was excluded from the band's inner circle, and Curtis was having an affair with Belgian journalist and music promoter Annik Honoré, whom he met on tour in Europe in 1979. He was also anxious about how American audiences would react to his epilepsy.
The evening before the band were due to depart for America, Curtis returned to his Macclesfield home to talk to Deborah. He asked her to drop an impending divorce suit, and asked her to leave him alone in the house until he caught a train to Manchester the following morning. Early on 18 May 1980, having spent the night watching the Werner Herzog film Stroszek, Curtis hanged himself in his kitchen. Deborah discovered his body later that day when she returned.
The suicide shocked the band and their management. In 2005, Wilson said: "I think all of us made the mistake of not thinking his suicide was going to happen ... We all completely underestimated the danger. We didn't take it seriously. That's how stupid we were." Music critic Simon Reynolds said Curtis's suicide "made for instant myth". Jon Savage's obituary said that "now no one will remember what his work with Joy Division was like when he was alive; it will be perceived as tragic rather than courageous". In June 1980, Joy Division's single "Love Will Tear Us Apart" was released, which hit number thirteen on the UK Singles Chart. In July 1980, Closer was released, and peaked at number six on the UK Albums Chart. NME reviewer Charles Shaar Murray wrote, "Closer is as magnificent a memorial (for 'Joy Division' as much as for Ian Curtis) as any post-Presley popular musician could have."
Morris said that even without Curtis's death, it is unlikely that Joy Division would have endured. The members had made a pact long before Curtis's death that, should any member leave, the remaining members would change the band name. The band re-formed as New Order, with Sumner on vocals; they later recruited Morris's girlfriend Gillian Gilbert as keyboardist and second guitarist. Gilbert had befriended the band and played guitar at a Joy Division performance when Curtis had been unable to play.
New Order's debut single, "Ceremony" (1981), was formed from the last two songs written with Curtis. New Order struggled in their early years to escape the shadow of Joy Division, but went on to achieve far greater commercial success with a different, more upbeat and dance-orientated sound.
Various Joy Division outtakes and live material have been released. Still, featuring live tracks and rare recordings, was issued in 1981. Factory issued the Substance compilation in 1988, including several out-of-print singles. Permanent was released in 1995 by London Records, which had acquired the Joy Division catalogue after Factory's 1992 bankruptcy. A comprehensive box set, Heart and Soul, appeared in 1997.
Musical style
Sound
Joy Division took time to develop their style and quickly evolved from their punk roots. Their sound during their early inception as Warsaw was described as fairly generic and "undistinguished punk-inflected hard-rock". Critic Simon Reynolds observed how the band's originality only "really became apparent as the songs got slower", and their music took on a "sparse" quality. According to Reynolds, "Hook's bass carried the melody, Bernard Sumner's guitar left gaps rather than filling up the group's sound with dense riffage and Steve Morris' drums seemed to circle the rim of a crater." According to music critic Jon Savage, "Joy Division were not punk but they were directly inspired by its energy". In 1994 Sumner said the band's characteristic sound "came out naturally: I'm more rhythm and chords, and Hooky was melody. He used to play high lead bass because I liked my guitar to sound distorted, and the amplifier I had would only work when it was at full volume. When Hooky played low, he couldn't hear himself. Steve has his own style which is different to other drummers. To me, a drummer in the band is the clock, but Steve wouldn't be the clock, because he's passive: he would follow the rhythm of the band, which gave us our own edge." By Closer, Curtis had adapted a low baritone voice, drawing comparisons to Jim Morrison of the Doors (one of Curtis's favourite bands).
Sumner largely acted as the band's director, a role he continued in New Order. While Sumner was the group's primary guitarist, Curtis played the instrument on a few recorded songs and during a few shows. Curtis hated playing guitar, but the band insisted he do so. Sumner said, "He played in quite a bizarre way and that to us was interesting, because no one else would play like Ian". During the recording sessions for Closer, Sumner began using self-built synthesisers and Hook used a six-string bass for more melody.
Producer Martin Hannett "dedicated himself to capturing and intensifying Joy Division's eerie spatiality". Hannett believed punk rock was sonically conservative because of its refusal to use studio technology to create sonic space. The producer instead aimed to create a more expansive sound on the group's records. Hannett said, "[Joy Division] were a gift to a producer, because they didn't have a clue. They didn't argue". Hannett demanded clean and clear "sound separation" not only for individual instruments, but even for individual pieces of Morris's drumkit. Morris recalled, "Typically on tracks he considered to be potential singles, he'd get me to play each drum on its own to avoid any bleed-through of sound". Music journalist Richard Cook noted that Hannett's role was "crucial". There are "devices of distance" in his production and "the sound is an illusion of physicality".
Lyrics
Curtis was the band's sole lyricist, and he typically composed his lyrics in a notebook, independently of the eventual music to evolve. The music itself was largely written by Sumner and Hook as the group jammed during rehearsals. Curtis's imagery and word choice often referenced "coldness, pressure, darkness, crisis, failure, collapse, loss of control". In 1979, NME journalist Paul Rambali wrote, "The themes of Joy Division's music are sorrowful, painful and sometimes deeply sad." Music journalist Jon Savage wrote that "Curtis's great lyrical achievement was to capture the underlying reality of a society in turmoil, and to make it both universal and personal," while noting that "the lyrics reflected, in mood and approach, his interest in romantic and science-fiction literature." Critic Robert Palmer wrote that William S. Burroughs and J. G. Ballard were "obvious influences" to Curtis, and Morris also remembered the singer reading T. S. Eliot. Deborah Curtis also remembered Curtis reading works by writers such as Fyodor Dostoevsky, Friedrich Nietzsche, Jean-Paul Sartre, Franz Kafka, and Hermann Hesse.
Curtis was unwilling to explain the meaning behind his lyrics and Joy Division releases were absent of any lyric sheets. He told the fanzine Printed Noise, "We haven't got a message really; the lyrics are open to interpretation. They're multidimensional. You can read into them what you like." The other Joy Division members have said that at the time, they paid little attention to the contents of Curtis' lyrics. In a 1987 interview with Option, Morris said that they "just thought the songs were sort of sympathetic and more uplifting than depressing. But everyone's got their own opinion." Deborah Curtis recalled that only with the release of Closer did many who were close to the singer realise "[h]is intentions and feelings were all there within the lyrics". The surviving members regret not seeing the warning signs in Curtis's lyrics. Morris said that "it was only after Ian died that we sat down and listened to the lyrics...you'd find yourself thinking, 'Oh my God, I missed this one'. Because I'd look at Ian's lyrics and think how clever he was putting himself in the position of someone else. I never believed he was writing about himself. Looking back, how could I have been so bleedin' stupid? Of course he was writing about himself. But I didn't go in and grab him and ask, 'What's up?' I have to live with that".
Live performances
In contrast to the sound of their studio recordings, Joy Division typically played loudly and aggressively during live performances. The band were especially unhappy with Hannett's mix of Unknown Pleasures, which reduced the abrasiveness of their live sound for a more cerebral and ghostly sound. According to Sumner "the music was loud and heavy, and we felt that Martin had toned it down, especially with the guitars".
During their live performances, the group did not interact with the audience; according to Paul Morley, "During a Joy Division set, outside of the songs, you'll be lucky to hear more than two or three words. Hello and goodbye. No introductions, no promotion." Curtis would often perform what became known as his "'dead fly' dance", as if imitating a seizure; his arms would "start flying in [a] semicircular, hypnotic curve". Simon Reynolds noted that Curtis's dancing style was reminiscent of an epileptic fit, and that he was dancing in the manner for some months before he was diagnosed with epilepsy. Live performances became problematic for Joy Division, due to Curtis's condition. Sumner later said, "We didn't have flashing lights, but sometimes a particular drum beat would do something to him. He'd go off in a trance for a bit, then he'd lose it and have an epileptic fit. We'd have to stop the show and carry him off to the dressing room where he'd cry his eyes out because this appalling thing had just happened to him".
Influences
Sumner wrote that Curtis was inspired by artists such as the Doors, Iggy Pop, David Bowie, Kraftwerk, the Velvet Underground and Neu!. Hook has also related that Curtis was particularly influenced by Iggy Pop's stage persona. The group were inspired by Kraftwerk's "marriage between humans and machines", and the inventiveness of their electronic music. Joy Division played Trans-Europe Express through the PA before they went on stage, "to get a momentum". Bowie's "Berlin Trilogy" elaborated with Brian Eno, influenced them; the "cold austerity" of the synthesisers on the b-sides of Heroes and Low albums, was a "music looking at the future". Morris cited the "unique style" of Velvet Underground's Maureen Tucker and the motorik drum beats, from Neu! and Can. Morris also credited Siouxsie and the Banshees because their "first drummer Kenny Morris played mostly toms" and "the sound of cymbals was forbidden". Hook said that "Siouxsie and the Banshees were one of our big influences ... The way the guitarist and the drummer played was a really unusual way of playing". Hook drew inspiration from the style of bassist Jean-Jacques Burnel and his early material with the Stranglers; he also credited Carol Kaye and her musical basslines on early 1970s work of the Temptations. Sumner mentioned "the raw, nasty, unpolished edge" in the guitars of the Rolling Stones, the simple riff of "Vicious" on Lou Reed's Transformer, and Neil Young. His musical horizon went up a notch with Jimi Hendrix, he realised "it wasn't about little catchy tunes ... it was what you could do sonically with a guitar."
Legacy
Despite their short career, Joy Division have exerted a wide-reaching influence. John Bush of AllMusic argues that Joy Division "became the first band in the post-punk movement by ... emphasizing not anger and energy but mood and expression, pointing ahead to the rise of melancholy alternative music in the '80s."
Joy Division have influenced bands including their contemporaries the Cure and U2, to later acts such as Bloc Party, Editors, Interpol, The Proclaimers, and Soundgarden. In 1980, U2 singer Bono said that Joy Division were "one of the most important bands of the last four or five years". Rapper Danny Brown named his album Atrocity Exhibition after the Joy Division song, whose title was partially inspired by the 1970 J. G. Ballard collection of condensed novels of the same name. In 2005 both New Order and Joy Division were inducted into the UK Music Hall of Fame.
The band's dark and gloomy sound, which Martin Hannett described in 1979 as "dancing music with Gothic overtones", presaged the gothic rock genre. While the term "gothic" originally described a "doomy atmosphere" in music of the late 1970s, the term was soon applied to specific bands like Bauhaus that followed in the wake of Joy Division and Siouxsie and the Banshees. Standard musical fixtures of early gothic rock bands included "high-pitched post-Joy Division basslines usurp[ing] the melodic role" and "vocals that were either near operatic and Teutonic or deep, droning alloys of Jim Morrison and Ian Curtis."
Joy Division have been dramatised in two biopics. 24 Hour Party People (2002) is a fictionalised account of Factory Records in which members of the band appear as supporting characters. Tony Wilson said of the film, "It's all true, it's all not true. It's not a fucking documentary," and that he favoured the "myth" over the truth. The 2007 film Control, directed by Anton Corbijn, is a biography of Ian Curtis (portrayed by Sam Riley) that uses Deborah Curtis's biography of her late husband, Touching from a Distance (1995), as its basis. Control had its international premiere on the opening night of Director's Fortnight at the 2007 Cannes Film Festival, where it was critically well received. That year Grant Gee directed the band documentary Joy Division.
Band members
Ian Curtis – lead vocals, guitar, melodica (1976–1980)
Bernard Sumner – lead guitar, keyboards, backing vocals, bass (1976–1980)
Peter Hook – bass, backing vocals, guitar (1976–1980)
Terry Mason – drums (1976–1977)
Tony Tabac – drums (1977)
Steve Brotherdale – drums (1977)
Stephen Morris – drums, percussion (1977–1980)
Timeline
Discography
Unknown Pleasures (1979)
Closer (1980)
References
Works cited
Further reading
External links
1976 establishments in England
1980 disestablishments in England
English gothic rock groups
English post-punk music groups
English new wave musical groups
Enigma Records artists
Factory Records artists
Music in Salford
Musical groups disestablished in 1980
Musical groups established in 1976
Musical groups from Greater Manchester
Musical quartets
New Order (band)
Qwest Records artists
Virgin Records artists | true | [
"The Bigger Than Life Tour was a co- headlining tour by American rock bands, Daughtry and 3 Doors Down. The tour supported Daughtry's third studio album, Break the Spell, and 3 Doors Down's The Greatest Hits album.\n\nBackground\nThe tour was announced on October 8, 2012. Chris Daughtry said, \"It's an honor to be able to go on the road with 3 Doors Down. We are excited to give fans an energetic rock show every night sharing songs from both our catalogs...we can't wait to hit the road to share it with our fans.\" The second leg of the tour was announced on December 10, 2012, and the third leg on April 23, 2013.\n\nOpening acts\nP.O.D. \nAranda \nHalestorm \nBad Seed Rising\n\nSet list\n\nTour dates\n\nFestivals and other miscellaneous performances\nThis concert is a part of Innsbrook After Hours.\nThis concert is a part of Freedom Fest at University of Wisconsin – La Crosse\n\nBox office score date\n\nReferences\n\n2012 concert tours\n2013 concert tours\nCo-headlining concert tours\nDaughtry (band) concert tours\n3 Doors Down",
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[
"Joy Division",
"Sound",
"What was their style of sound?",
"punk-inflected hard-rock",
"Did their style change over time?",
"songs got slower",
"Did their music sound differently from getting slower?",
"Hook's bass carried the melody, Bernard Sumner's guitar left gaps rather than filling up the group's sound",
"Was the sound of their music inspired by anything?",
"inspired by its energy",
"Was the vocal sound of the band similar to another singer or group?",
"Jim Morrison of the Doors",
"Did they tour with Doors?",
"not"
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| C_ded68eb0791c4dab8b6f4f32688dbb63_1 | What other bands sounded similar to them? | 7 | What other bands sounded similar to Joy Division? | Joy Division | Joy Division's style quickly evolved from their punk roots. Their sound during their early inception as Warsaw was described as generic and "undistinguished punk-inflected hard-rock". Critic Simon Reynolds observed how the band's originality only "really became apparent as the songs got slower", and their music took on a "sparse" quality. According to Reynolds, "Hook's bass carried the melody, Bernard Sumner's guitar left gaps rather than filling up the group's sound with dense riffage and Steve Morris' drums seemed to circle the rim of a crater." According to music critic Jon Savage, "Joy Division were not punk but they were directly inspired by its energy". In 1994 Sumner said the band's characteristic sound "came out naturally: I'm more rhythm and chords, and Hooky was melody. He used to play high lead bass because I liked my guitar to sound distorted, and the amplifier I had would only work when it was at full volume. When Hooky played low, he couldn't hear himself. Steve has his own style which is different to other drummers. To me, a drummer in the band is the clock, but Steve wouldn't be the clock, because he's passive: he would follow the rhythm of the band, which gave us our own edge." By Closer, Curtis had adapted a low baritone voice, drawing comparisons to Jim Morrison of the Doors (one of Curtis's favourite bands). Sumner largely acted as the band's director, a role he continued in New Order. While Sumner was the group's primary guitarist, Curtis played the instrument on a few recorded songs and during a few shows. Curtis hated playing guitar, but the band insisted he do so. Sumner said, "He played in quite a bizarre way and that to us was interesting, because no one else would play like Ian". During the recording sessions for Closer, Sumner began using self-built synthesisers and Hook used a six-string bass for more melody. Hannett "dedicated himself to capturing and intensifying Joy Division's eerie spatiality". Hannett believed punk rock was sonically conservative because of its refusal to use studio technology to create sonic space. The producer instead aimed to create a more expansive sound on the group's records. Hannett said, "[Joy Division] were a gift to a producer, because they didn't have a clue. They didn't argue". Hannett demanded clean and clear "sound separation" not only for individual instruments, but even for individual pieces of Morris's drumkit. Morris recalled, "Typically on tracks he considered to be potential singles, he'd get me to play each drum on its own to avoid any bleed-through of sound". Music journalist Richard Cook noted that Hannett's role was "crucial". There are "devices of distance" in his production and "the sound is an illusion of physicality". CANNOTANSWER | CANNOTANSWER | Joy Division were an English rock band formed in Salford in 1976. The group consisted of vocalist Ian Curtis, guitarist/keyboardist Bernard Sumner, bassist Peter Hook and drummer Stephen Morris.
Sumner and Hook formed the band after attending a Sex Pistols concert. While Joy Division's first recordings were heavily influenced by early punk, they soon developed a sparse sound and style that made them one of the pioneers of the post-punk movement. Their self-released 1978 debut EP An Ideal for Living drew the attention of the Manchester television personality Tony Wilson, who signed them to his independent label Factory Records. Their debut album Unknown Pleasures, recorded with producer Martin Hannett, was released in 1979.
Curtis suffered from personal problems and health conditions, including a failing marriage, depression, and epilepsy. As the band's popularity grew, Curtis's condition made it increasingly difficult for him to perform; he occasionally experienced seizures on stage. He died by suicide on the eve of the band's first US/Canada tour in May 1980, aged 23. Joy Division's second and final album, Closer, was released two months later; it and the single "Love Will Tear Us Apart" became their highest charting releases.
The remaining members regrouped under the name New Order. They were successful throughout the next decade, blending post-punk with electronic and dance music influences.
History
Formation
On 4 June 1976, childhood friends Bernard Sumner and Peter Hook separately attended a Sex Pistols show at the Manchester Lesser Free Trade Hall. Both were inspired by the Pistols' performance. Sumner said that he felt the Pistols "destroyed the myth of being a pop star, of a musician being some kind of god that you had to worship". The following day Hook borrowed £35 from his mother to buy a bass guitar. They formed a band with Terry Mason, who had also attended the gig; Sumner bought a guitar, and Mason a drum kit. After their schoolfriend Martin Gresty declined an invitation to join as vocalist after getting a job at a factory, the band placed an advertisement for a vocalist in the Manchester Virgin Records shop. Ian Curtis, who knew them from earlier gigs, responded and was hired without audition. Sumner said that he "knew he was all right to get on with and that's what we based the whole group on. If we liked someone, they were in."
Buzzcocks manager Richard Boon and frontman Pete Shelley have both been credited with suggesting the band name "Stiff Kittens", but the band settled on "Warsaw" shortly before their first gig, a reference to David Bowie's song "Warszawa". Warsaw debuted on 29 May 1977 at the Electric Circus, supporting the Buzzcocks, Penetration and John Cooper Clarke. Tony Tabac played drums that night after joining the band two days earlier. Reviews in the NME by Paul Morley and in Sounds by Ian Wood brought them immediate national exposure. Mason became the band's manager and Tabac was replaced on drums in June 1977 by Steve Brotherdale, who also played in the punk band The Panik. Brotherdale tried to get Curtis to leave the band and join The Panik, and even had Curtis audition. On 18 July 1977, Warsaw recorded five demo tracks at Pennine Sound Studios, Oldham. Uneasy with Brotherdale's aggressive personality, the band fired him soon after the sessions: driving home from the studio, they pulled over and asked Brotherdale to check on a flat tyre; when he got out of the car, they drove off.
In August 1977, Warsaw placed an advertisement in a music shop window seeking a replacement drummer. Stephen Morris, who had attended the same school as Curtis, was the sole respondent. Deborah Curtis, Ian's wife, stated that Morris "fitted perfectly" with the band, and that with his addition Warsaw became a "complete 'family. To avoid confusion with the London punk band Warsaw Pakt, the band renamed themselves Joy Division in early 1978, borrowing the name from the sexual slavery wing of a Nazi concentration camp mentioned in the 1955 novel House of Dolls. On 14 December, the group recorded their debut EP, An Ideal for Living, at Pennine Sound Studio and played their final gig as Warsaw on New Year's Eve at the Swinging Apple in Liverpool. Billed as Warsaw to ensure an audience, the band played their first gig as Joy Division on 25 January 1978 at Pip's Disco in Manchester.
Early releases
Joy Division were approached by RCA Records to record a cover of Nolan "N.F." Porter's "Keep on Keepin' On" at a Manchester recording studio. The band spent late March and April 1978 writing and rehearsing material. During the Stiff/Chiswick Challenge concert at Manchester's Rafters club on 14 April, they caught the attention of music producer Tony Wilson and manager Rob Gretton. Curtis berated Wilson for not putting the group on his Granada Television show So It Goes; Wilson responded that Joy Division would be the next band he would showcase on TV. Gretton, the venue's resident DJ, was so impressed by the band's performance that he convinced them to take him on as their manager. Gretton, whose "dogged determination" was later credited for much of the band's public success, contributed the business skills to provide Joy Division with a better foundation for creativity. Joy Division spent the first week of May 1978 recording at Manchester's Arrow Studios. The band were unhappy with the Grapevine Records head John Anderson's insistence on adding synthesiser into the mix to soften the sound, and asked to be dropped from the contract with RCA.
Joy Division made their recorded debut in June 1978 when the band self-released An Ideal for Living, and two weeks later their track "At a Later Date" was featured on the compilation album Short Circuit: Live at the Electric Circus (which had been recorded live in October 1977). In the Melody Maker review, Chris Brazier said that it "has the familiar rough-hewn nature of home-produced records, but they're no mere drone-vendors—there are a lot of good ideas here, and they could be a very interesting band by now, seven months on". The packaging of An Ideal for Living—which featured a drawing of a Hitler Youth member on the cover—coupled with the nature of the band's name fuelled speculation about their political affiliations. While Hook and Sumner later said they were intrigued by fascism at the time, Morris believed that the group's dalliance with Nazi imagery came from a desire to keep memories of the sacrifices of their parents and grandparents during World War II alive. He argued that accusations of neo-Nazi sympathies merely provoked the band "to keep on doing it, because that's the kind of people we are".
In September 1978, Joy Division made their television debut performing "Shadowplay" on So It Goes, with an introduction by Wilson. In October, Joy Division contributed two tracks recorded with producer Martin Hannett to the compilation double-7" EP A Factory Sample, the first release by Tony Wilson's record label, Factory Records. In the NME review of the EP, Paul Morley praised the band as "the missing link" between Elvis Presley and Siouxsie and the Banshees. Joy Division joined Factory's roster, after buying themselves out of the RCA deal. Gretton was made a label partner to represent the interests of the band. On 27 December, during the drive home from gig at the Hope and Anchor in London, Curtis suffered his first recognised severe epileptic seizure and was hospitalised. Meanwhile, Joy Division's career progressed, and Curtis appeared on the 13 January 1979 cover of NME. That month the band recorded their session for BBC Radio 1 DJ John Peel. According to Deborah Curtis, "Sandwiched in between these two important landmarks was the realisation that Ian's illness was something we would have to learn to accommodate".
Unknown Pleasures and breakthrough
Joy Division's debut album, Unknown Pleasures, was recorded at Strawberry Studios, Stockport, in April 1979. Producer Martin Hannett significantly altered their live sound, a fact that greatly displeased the band at the time; however, in 2006, Hook said that in retrospect Hannett had done a good job and "created the Joy Division sound". The album cover was designed by Peter Saville, who went on to provide artwork for future Joy Division and New Order releases.
Unknown Pleasures was released in June and sold through its initial pressing of 10,000 copies. Wilson said the success turned the indie label into a true business and a "revolutionary force" that operated outside of the major record label system. Reviewing the album for Melody Maker, writer Jon Savage described the album as an "opaque manifesto" and declared it "one of the best, white, English, debut LPs of the year".
Joy Division performed on Granada TV again in July 1979, and made their only nationwide TV appearance in September on BBC2's Something Else. They supported the Buzzcocks in a 24-venue UK tour that began that October, which allowed the band to quit their regular jobs. The non-album single "Transmission" was released in November. Joy Division's burgeoning success drew a devoted following who were stereotyped as "intense young men dressed in grey overcoats".
Closer and health problems
Joy Division toured Europe in January 1980. Although the schedule was demanding, Curtis experienced only two grand mal seizures, both in the final two months of the tour. That March, the band recorded their second album, Closer, with Hannett at London's Britannia Row Studios. That month they released the "Licht und Blindheit" single, with "Atmosphere" as the A-side and "Dead Souls" as the B-side, on the French independent label Sordide Sentimental.
A lack of sleep and long hours destabilised Curtis's epilepsy, and his seizures became almost uncontrollable. He often had seizures during performances, which some audience members believed were part of the performance. The seizures left him feeling ashamed and depressed, and the band became increasingly worried about Curtis's condition. On 7 April 1980, Curtis attempted suicide by overdosing on his anti-seizure medication, phenobarbitone. The following evening, Joy Division were scheduled to play a gig at the Derby Hall in Bury. Curtis was too ill to perform, so at Gretton's insistence the band played a combined set with Alan Hempsall of Crispy Ambulance and Simon Topping of A Certain Ratio singing on the first few songs. When Topping came back towards the end of the set, some audience members threw bottles at the stage. Curtis's ill health led to the cancellation of several other gigs that April. Joy Division's final live performance was held at the University of Birmingham's High Hall on 2 May, and included their only performance of "Ceremony", one of the last songs written by Curtis.
Hannett's production has been widely praised. However, as with Unknown Pleasures, both Hook and Sumner were unhappy with the production. Hook said that when he heard the final mix of "Atrocity Exhibition" he was disappointed that the abrasiveness had been toned down. He wrote; "I was like, head in hands, 'Oh fucking hell, it's happening again ... Martin had fucking melted the guitar with his Marshall Time Waster. Made it sound like someone strangling a cat and, to my mind, absolutely killed the song. I was so annoyed with him and went in and gave him a piece of my mind but he just turned round and told me to fuck off."
Curtis' suicide and aftermath
Joy Division were scheduled to commence their first US/Canada tour in May 1980. Curtis had expressed enthusiasm about the tour, but his relationship with his wife, Deborah, was under strain; Deborah was excluded from the band's inner circle, and Curtis was having an affair with Belgian journalist and music promoter Annik Honoré, whom he met on tour in Europe in 1979. He was also anxious about how American audiences would react to his epilepsy.
The evening before the band were due to depart for America, Curtis returned to his Macclesfield home to talk to Deborah. He asked her to drop an impending divorce suit, and asked her to leave him alone in the house until he caught a train to Manchester the following morning. Early on 18 May 1980, having spent the night watching the Werner Herzog film Stroszek, Curtis hanged himself in his kitchen. Deborah discovered his body later that day when she returned.
The suicide shocked the band and their management. In 2005, Wilson said: "I think all of us made the mistake of not thinking his suicide was going to happen ... We all completely underestimated the danger. We didn't take it seriously. That's how stupid we were." Music critic Simon Reynolds said Curtis's suicide "made for instant myth". Jon Savage's obituary said that "now no one will remember what his work with Joy Division was like when he was alive; it will be perceived as tragic rather than courageous". In June 1980, Joy Division's single "Love Will Tear Us Apart" was released, which hit number thirteen on the UK Singles Chart. In July 1980, Closer was released, and peaked at number six on the UK Albums Chart. NME reviewer Charles Shaar Murray wrote, "Closer is as magnificent a memorial (for 'Joy Division' as much as for Ian Curtis) as any post-Presley popular musician could have."
Morris said that even without Curtis's death, it is unlikely that Joy Division would have endured. The members had made a pact long before Curtis's death that, should any member leave, the remaining members would change the band name. The band re-formed as New Order, with Sumner on vocals; they later recruited Morris's girlfriend Gillian Gilbert as keyboardist and second guitarist. Gilbert had befriended the band and played guitar at a Joy Division performance when Curtis had been unable to play.
New Order's debut single, "Ceremony" (1981), was formed from the last two songs written with Curtis. New Order struggled in their early years to escape the shadow of Joy Division, but went on to achieve far greater commercial success with a different, more upbeat and dance-orientated sound.
Various Joy Division outtakes and live material have been released. Still, featuring live tracks and rare recordings, was issued in 1981. Factory issued the Substance compilation in 1988, including several out-of-print singles. Permanent was released in 1995 by London Records, which had acquired the Joy Division catalogue after Factory's 1992 bankruptcy. A comprehensive box set, Heart and Soul, appeared in 1997.
Musical style
Sound
Joy Division took time to develop their style and quickly evolved from their punk roots. Their sound during their early inception as Warsaw was described as fairly generic and "undistinguished punk-inflected hard-rock". Critic Simon Reynolds observed how the band's originality only "really became apparent as the songs got slower", and their music took on a "sparse" quality. According to Reynolds, "Hook's bass carried the melody, Bernard Sumner's guitar left gaps rather than filling up the group's sound with dense riffage and Steve Morris' drums seemed to circle the rim of a crater." According to music critic Jon Savage, "Joy Division were not punk but they were directly inspired by its energy". In 1994 Sumner said the band's characteristic sound "came out naturally: I'm more rhythm and chords, and Hooky was melody. He used to play high lead bass because I liked my guitar to sound distorted, and the amplifier I had would only work when it was at full volume. When Hooky played low, he couldn't hear himself. Steve has his own style which is different to other drummers. To me, a drummer in the band is the clock, but Steve wouldn't be the clock, because he's passive: he would follow the rhythm of the band, which gave us our own edge." By Closer, Curtis had adapted a low baritone voice, drawing comparisons to Jim Morrison of the Doors (one of Curtis's favourite bands).
Sumner largely acted as the band's director, a role he continued in New Order. While Sumner was the group's primary guitarist, Curtis played the instrument on a few recorded songs and during a few shows. Curtis hated playing guitar, but the band insisted he do so. Sumner said, "He played in quite a bizarre way and that to us was interesting, because no one else would play like Ian". During the recording sessions for Closer, Sumner began using self-built synthesisers and Hook used a six-string bass for more melody.
Producer Martin Hannett "dedicated himself to capturing and intensifying Joy Division's eerie spatiality". Hannett believed punk rock was sonically conservative because of its refusal to use studio technology to create sonic space. The producer instead aimed to create a more expansive sound on the group's records. Hannett said, "[Joy Division] were a gift to a producer, because they didn't have a clue. They didn't argue". Hannett demanded clean and clear "sound separation" not only for individual instruments, but even for individual pieces of Morris's drumkit. Morris recalled, "Typically on tracks he considered to be potential singles, he'd get me to play each drum on its own to avoid any bleed-through of sound". Music journalist Richard Cook noted that Hannett's role was "crucial". There are "devices of distance" in his production and "the sound is an illusion of physicality".
Lyrics
Curtis was the band's sole lyricist, and he typically composed his lyrics in a notebook, independently of the eventual music to evolve. The music itself was largely written by Sumner and Hook as the group jammed during rehearsals. Curtis's imagery and word choice often referenced "coldness, pressure, darkness, crisis, failure, collapse, loss of control". In 1979, NME journalist Paul Rambali wrote, "The themes of Joy Division's music are sorrowful, painful and sometimes deeply sad." Music journalist Jon Savage wrote that "Curtis's great lyrical achievement was to capture the underlying reality of a society in turmoil, and to make it both universal and personal," while noting that "the lyrics reflected, in mood and approach, his interest in romantic and science-fiction literature." Critic Robert Palmer wrote that William S. Burroughs and J. G. Ballard were "obvious influences" to Curtis, and Morris also remembered the singer reading T. S. Eliot. Deborah Curtis also remembered Curtis reading works by writers such as Fyodor Dostoevsky, Friedrich Nietzsche, Jean-Paul Sartre, Franz Kafka, and Hermann Hesse.
Curtis was unwilling to explain the meaning behind his lyrics and Joy Division releases were absent of any lyric sheets. He told the fanzine Printed Noise, "We haven't got a message really; the lyrics are open to interpretation. They're multidimensional. You can read into them what you like." The other Joy Division members have said that at the time, they paid little attention to the contents of Curtis' lyrics. In a 1987 interview with Option, Morris said that they "just thought the songs were sort of sympathetic and more uplifting than depressing. But everyone's got their own opinion." Deborah Curtis recalled that only with the release of Closer did many who were close to the singer realise "[h]is intentions and feelings were all there within the lyrics". The surviving members regret not seeing the warning signs in Curtis's lyrics. Morris said that "it was only after Ian died that we sat down and listened to the lyrics...you'd find yourself thinking, 'Oh my God, I missed this one'. Because I'd look at Ian's lyrics and think how clever he was putting himself in the position of someone else. I never believed he was writing about himself. Looking back, how could I have been so bleedin' stupid? Of course he was writing about himself. But I didn't go in and grab him and ask, 'What's up?' I have to live with that".
Live performances
In contrast to the sound of their studio recordings, Joy Division typically played loudly and aggressively during live performances. The band were especially unhappy with Hannett's mix of Unknown Pleasures, which reduced the abrasiveness of their live sound for a more cerebral and ghostly sound. According to Sumner "the music was loud and heavy, and we felt that Martin had toned it down, especially with the guitars".
During their live performances, the group did not interact with the audience; according to Paul Morley, "During a Joy Division set, outside of the songs, you'll be lucky to hear more than two or three words. Hello and goodbye. No introductions, no promotion." Curtis would often perform what became known as his "'dead fly' dance", as if imitating a seizure; his arms would "start flying in [a] semicircular, hypnotic curve". Simon Reynolds noted that Curtis's dancing style was reminiscent of an epileptic fit, and that he was dancing in the manner for some months before he was diagnosed with epilepsy. Live performances became problematic for Joy Division, due to Curtis's condition. Sumner later said, "We didn't have flashing lights, but sometimes a particular drum beat would do something to him. He'd go off in a trance for a bit, then he'd lose it and have an epileptic fit. We'd have to stop the show and carry him off to the dressing room where he'd cry his eyes out because this appalling thing had just happened to him".
Influences
Sumner wrote that Curtis was inspired by artists such as the Doors, Iggy Pop, David Bowie, Kraftwerk, the Velvet Underground and Neu!. Hook has also related that Curtis was particularly influenced by Iggy Pop's stage persona. The group were inspired by Kraftwerk's "marriage between humans and machines", and the inventiveness of their electronic music. Joy Division played Trans-Europe Express through the PA before they went on stage, "to get a momentum". Bowie's "Berlin Trilogy" elaborated with Brian Eno, influenced them; the "cold austerity" of the synthesisers on the b-sides of Heroes and Low albums, was a "music looking at the future". Morris cited the "unique style" of Velvet Underground's Maureen Tucker and the motorik drum beats, from Neu! and Can. Morris also credited Siouxsie and the Banshees because their "first drummer Kenny Morris played mostly toms" and "the sound of cymbals was forbidden". Hook said that "Siouxsie and the Banshees were one of our big influences ... The way the guitarist and the drummer played was a really unusual way of playing". Hook drew inspiration from the style of bassist Jean-Jacques Burnel and his early material with the Stranglers; he also credited Carol Kaye and her musical basslines on early 1970s work of the Temptations. Sumner mentioned "the raw, nasty, unpolished edge" in the guitars of the Rolling Stones, the simple riff of "Vicious" on Lou Reed's Transformer, and Neil Young. His musical horizon went up a notch with Jimi Hendrix, he realised "it wasn't about little catchy tunes ... it was what you could do sonically with a guitar."
Legacy
Despite their short career, Joy Division have exerted a wide-reaching influence. John Bush of AllMusic argues that Joy Division "became the first band in the post-punk movement by ... emphasizing not anger and energy but mood and expression, pointing ahead to the rise of melancholy alternative music in the '80s."
Joy Division have influenced bands including their contemporaries the Cure and U2, to later acts such as Bloc Party, Editors, Interpol, The Proclaimers, and Soundgarden. In 1980, U2 singer Bono said that Joy Division were "one of the most important bands of the last four or five years". Rapper Danny Brown named his album Atrocity Exhibition after the Joy Division song, whose title was partially inspired by the 1970 J. G. Ballard collection of condensed novels of the same name. In 2005 both New Order and Joy Division were inducted into the UK Music Hall of Fame.
The band's dark and gloomy sound, which Martin Hannett described in 1979 as "dancing music with Gothic overtones", presaged the gothic rock genre. While the term "gothic" originally described a "doomy atmosphere" in music of the late 1970s, the term was soon applied to specific bands like Bauhaus that followed in the wake of Joy Division and Siouxsie and the Banshees. Standard musical fixtures of early gothic rock bands included "high-pitched post-Joy Division basslines usurp[ing] the melodic role" and "vocals that were either near operatic and Teutonic or deep, droning alloys of Jim Morrison and Ian Curtis."
Joy Division have been dramatised in two biopics. 24 Hour Party People (2002) is a fictionalised account of Factory Records in which members of the band appear as supporting characters. Tony Wilson said of the film, "It's all true, it's all not true. It's not a fucking documentary," and that he favoured the "myth" over the truth. The 2007 film Control, directed by Anton Corbijn, is a biography of Ian Curtis (portrayed by Sam Riley) that uses Deborah Curtis's biography of her late husband, Touching from a Distance (1995), as its basis. Control had its international premiere on the opening night of Director's Fortnight at the 2007 Cannes Film Festival, where it was critically well received. That year Grant Gee directed the band documentary Joy Division.
Band members
Ian Curtis – lead vocals, guitar, melodica (1976–1980)
Bernard Sumner – lead guitar, keyboards, backing vocals, bass (1976–1980)
Peter Hook – bass, backing vocals, guitar (1976–1980)
Terry Mason – drums (1976–1977)
Tony Tabac – drums (1977)
Steve Brotherdale – drums (1977)
Stephen Morris – drums, percussion (1977–1980)
Timeline
Discography
Unknown Pleasures (1979)
Closer (1980)
References
Works cited
Further reading
External links
1976 establishments in England
1980 disestablishments in England
English gothic rock groups
English post-punk music groups
English new wave musical groups
Enigma Records artists
Factory Records artists
Music in Salford
Musical groups disestablished in 1980
Musical groups established in 1976
Musical groups from Greater Manchester
Musical quartets
New Order (band)
Qwest Records artists
Virgin Records artists | false | [
"Deface the Music is the fifth studio album by the band Utopia. The concept of the album was to pay homage to The Beatles and create songs which sounded very similar to the Fab Four's tunes throughout the various stages of their career. Their song \"Take It Home\", replete with guitar riff, is their homage to \"Day Tripper\". The first track, \"I Just Want to Touch You\", was written by Todd Rundgren for the Roadie soundtrack. It was rejected by the movie's producers for fear of legal action because it sounded so much like the Beatles. The original pressing was made to look like an early 1960s Beatles release, with custom inner sleeve advertising their previous three albums even down to the way the vinyl was mastered with wide bands of silence between each song.\n\nTrack listing\n\nCharts\n\nSee also\nThe Rutles\nFace the Music (Electric Light Orchestra album)\n\nReferences\n\n1980 albums\nTodd Rundgren albums\nAlbums produced by Todd Rundgren\nUtopia (band) albums\nBearsville Records albums\nRhino Records albums\nThe Beatles tribute albums",
"Brazilian thrash metal is a musical movement that originated in the 1980s. Though not as large or well known as the North American or European thrash metal movements, it bridged the gap of the mid-1980s and the death metal scene later in the decade and the first-wave of black metal.\n\nHistory\n\n1980s: The beginning\nDuring the early eighties, bands from the United States, Germany and Canada, such as Metallica and Slayer (U.S.), Destruction and Kreator (Germany), and Voivod and Exciter (Canada) appeared. At the same time, Brazil had a growing scene and were influenced by the same music: NWOBHM and hardcore punk.\n\nBrazilian rock has its roots in the 1960s, developing from the movement called Jovem Guarda, passing through the stages of progressive rock and heavy metal. In 1982, the first Brazilian heavy metal LP was released by the band Stress from the northern city Belém.\n\nThe European and North American heavy metal and hardcore have been a great influence on all these bands, but the first thrash metal (or speed metal) album released officially in Brazil was a split album between two bands in 1984: Ultimatum, by Dorsal Atlântica and Metalmorphose. This came out around the same time as Kill 'Em All by Metallica, War and Pain by Voivod, and Sentence of Death by Destruction. Other bands released demos, like Vulcano from São Paulo and Sepultura from Belo Horizonte.\n\nIn the late 1980s, Sepultura achieved success outside of Brazil. The last thrash metal albums to represent the \"old-school\" style of thrash in Brazil were Mass Illusion by Korzus (1991), Arise by Sepultura (1991), Rotten Authorities by Executer (1991), and The Laws of Scourge by Sarcófago (1991).\n\nMid and late 1990s\n\nEntering the 90s, thrash was mixed with alternative metal, grunge, industrial music and in Brazil specifically, with the Brazilian \"roots\" music, often leading to hybrid music between metal and ethnic or world music. This subgenre is sometimes labelled as tribal metal. Sepultura and Overdose (from Belo Horizonte), are credited to be the first and most important acts that mixed thrash with tribal sounds. Bands that did not simply disappear from the scene, had to adapt their sound to new genres that were appearing, such as was the case with Sepultura.\n\nKorzus brought the New York hardcore influences to their sound with the KZS album. Sarcófago put a drum machine in their last studio album entitled Crust. A band from Belo Horizonte named The Mist became an \"industrial-thrash\" band and Dorsal Atlântica turned into a hardcore/crust variant. Ratos de Porão experimented an approach with alternative metal before returning to a more punk-influenced sound.\n\nDuring the 1990s, the most important bands to appear in the decade were Scars, Distraught and Zero Vision. But their sound had a greater influence from groove metal of Machine Head than that of thrash metal.\n\n2000s onward\nIn the 2000s, bands Executer and Holocausto had their \"come back\", and Max Cavalera's Soulfly released an album that is almost \"old-school\" thrash with the mixing of new and old styles; the band Ratos de Porão returned to the crossover style.\n\nThere are a lot of new thrash metal bands existing together with the old ones who returned. New bands since the year 2000 have been releasing albums on independent record labels. Bands such as Torture Squad have been frequently touring across South America and Europe.\n\nRegional scenes\nThere were three regions where the Brazilian thrash metal was originated (Belo Horizonte, São Paulo and Rio de Janeiro). The most prominent of the three scenes, was from the city, Belo Horizonte, where Sepultura came from.\n\nIn Belo Horizonte, the scene had some of the most extreme bands, close to what came to be named as death metal. Bands such as Sepultura, Sarcófago and Mutilator continued further and were in some ways more extreme than the German thrash metal bands; they were influenced by European extreme metal bands like Sodom and Hellhammer and had a very raw and primitive production, which \"added to the atmosphere\" according to their fans, while others would claim they \"sounded 'worse' than their European counterparts\". The band Sarcófago wore an early form of corpse paint and their first album I.N.R.I. \"was huge among Norwegian black metalers\". Sarcófago, as well as Sepultura, were also important for a chaotic, non-Norwegian black metal style called war metal. The first prominent band of the scene were Overdose, a traditional heavy metal act that became increasingly progressive and more aggressive over time. Sepultura members used to borrow equipment from them, and were invited to take the B-side of Overdose's debut record, which became the Século XX/Bestial Devastation split. Later on, Sepultura started to boycott Overdose and actively try to stop their success. Jairo \"Tormentor\" Guedz, the original guitarist of Sepultura, joined Overdose for a short period as a bass player. After disbanding, Cláudio David (lead guitarist) formed Elektra, and André \"Zé Baleia\" Márcio (drummer) formed Eminence. Jairo also played bass in Eminence. The active sabotage of Sepultura towards the other bands from the city made the scene slowly go to ostracism, since no one else could get successful.\n\nIn São Paulo, the scene was closer to crossover thrash or what is more commonly known as American thrash. Bands such as Ratos de Porão and Lobotomia, played a style more akin to hardcore and started transforming into a more thrash metal sound, alongside the original thrash metal bands, such as Korzus and MX.\n\nIn Rio de Janeiro, the bands sounded similar to European bands of the time. Important bands from this time period were Taurus, Metrallion, and Antitese.\n\nReferences\n\nBibliography\n\n20th-century music genres\n21st-century music genres\nThrash metal\nBrazilian rock music\nBrazilian styles of music\nExtreme metal\nMusic scenes"
]
|
[
"Joy Division",
"Sound",
"What was their style of sound?",
"punk-inflected hard-rock",
"Did their style change over time?",
"songs got slower",
"Did their music sound differently from getting slower?",
"Hook's bass carried the melody, Bernard Sumner's guitar left gaps rather than filling up the group's sound",
"Was the sound of their music inspired by anything?",
"inspired by its energy",
"Was the vocal sound of the band similar to another singer or group?",
"Jim Morrison of the Doors",
"Did they tour with Doors?",
"not",
"What other bands sounded similar to them?",
"I don't know."
]
| C_ded68eb0791c4dab8b6f4f32688dbb63_1 | What did others say about their music style? | 8 | What did others say about Joy Division music style? | Joy Division | Joy Division's style quickly evolved from their punk roots. Their sound during their early inception as Warsaw was described as generic and "undistinguished punk-inflected hard-rock". Critic Simon Reynolds observed how the band's originality only "really became apparent as the songs got slower", and their music took on a "sparse" quality. According to Reynolds, "Hook's bass carried the melody, Bernard Sumner's guitar left gaps rather than filling up the group's sound with dense riffage and Steve Morris' drums seemed to circle the rim of a crater." According to music critic Jon Savage, "Joy Division were not punk but they were directly inspired by its energy". In 1994 Sumner said the band's characteristic sound "came out naturally: I'm more rhythm and chords, and Hooky was melody. He used to play high lead bass because I liked my guitar to sound distorted, and the amplifier I had would only work when it was at full volume. When Hooky played low, he couldn't hear himself. Steve has his own style which is different to other drummers. To me, a drummer in the band is the clock, but Steve wouldn't be the clock, because he's passive: he would follow the rhythm of the band, which gave us our own edge." By Closer, Curtis had adapted a low baritone voice, drawing comparisons to Jim Morrison of the Doors (one of Curtis's favourite bands). Sumner largely acted as the band's director, a role he continued in New Order. While Sumner was the group's primary guitarist, Curtis played the instrument on a few recorded songs and during a few shows. Curtis hated playing guitar, but the band insisted he do so. Sumner said, "He played in quite a bizarre way and that to us was interesting, because no one else would play like Ian". During the recording sessions for Closer, Sumner began using self-built synthesisers and Hook used a six-string bass for more melody. Hannett "dedicated himself to capturing and intensifying Joy Division's eerie spatiality". Hannett believed punk rock was sonically conservative because of its refusal to use studio technology to create sonic space. The producer instead aimed to create a more expansive sound on the group's records. Hannett said, "[Joy Division] were a gift to a producer, because they didn't have a clue. They didn't argue". Hannett demanded clean and clear "sound separation" not only for individual instruments, but even for individual pieces of Morris's drumkit. Morris recalled, "Typically on tracks he considered to be potential singles, he'd get me to play each drum on its own to avoid any bleed-through of sound". Music journalist Richard Cook noted that Hannett's role was "crucial". There are "devices of distance" in his production and "the sound is an illusion of physicality". CANNOTANSWER | their music took on a "sparse" quality. | Joy Division were an English rock band formed in Salford in 1976. The group consisted of vocalist Ian Curtis, guitarist/keyboardist Bernard Sumner, bassist Peter Hook and drummer Stephen Morris.
Sumner and Hook formed the band after attending a Sex Pistols concert. While Joy Division's first recordings were heavily influenced by early punk, they soon developed a sparse sound and style that made them one of the pioneers of the post-punk movement. Their self-released 1978 debut EP An Ideal for Living drew the attention of the Manchester television personality Tony Wilson, who signed them to his independent label Factory Records. Their debut album Unknown Pleasures, recorded with producer Martin Hannett, was released in 1979.
Curtis suffered from personal problems and health conditions, including a failing marriage, depression, and epilepsy. As the band's popularity grew, Curtis's condition made it increasingly difficult for him to perform; he occasionally experienced seizures on stage. He died by suicide on the eve of the band's first US/Canada tour in May 1980, aged 23. Joy Division's second and final album, Closer, was released two months later; it and the single "Love Will Tear Us Apart" became their highest charting releases.
The remaining members regrouped under the name New Order. They were successful throughout the next decade, blending post-punk with electronic and dance music influences.
History
Formation
On 4 June 1976, childhood friends Bernard Sumner and Peter Hook separately attended a Sex Pistols show at the Manchester Lesser Free Trade Hall. Both were inspired by the Pistols' performance. Sumner said that he felt the Pistols "destroyed the myth of being a pop star, of a musician being some kind of god that you had to worship". The following day Hook borrowed £35 from his mother to buy a bass guitar. They formed a band with Terry Mason, who had also attended the gig; Sumner bought a guitar, and Mason a drum kit. After their schoolfriend Martin Gresty declined an invitation to join as vocalist after getting a job at a factory, the band placed an advertisement for a vocalist in the Manchester Virgin Records shop. Ian Curtis, who knew them from earlier gigs, responded and was hired without audition. Sumner said that he "knew he was all right to get on with and that's what we based the whole group on. If we liked someone, they were in."
Buzzcocks manager Richard Boon and frontman Pete Shelley have both been credited with suggesting the band name "Stiff Kittens", but the band settled on "Warsaw" shortly before their first gig, a reference to David Bowie's song "Warszawa". Warsaw debuted on 29 May 1977 at the Electric Circus, supporting the Buzzcocks, Penetration and John Cooper Clarke. Tony Tabac played drums that night after joining the band two days earlier. Reviews in the NME by Paul Morley and in Sounds by Ian Wood brought them immediate national exposure. Mason became the band's manager and Tabac was replaced on drums in June 1977 by Steve Brotherdale, who also played in the punk band The Panik. Brotherdale tried to get Curtis to leave the band and join The Panik, and even had Curtis audition. On 18 July 1977, Warsaw recorded five demo tracks at Pennine Sound Studios, Oldham. Uneasy with Brotherdale's aggressive personality, the band fired him soon after the sessions: driving home from the studio, they pulled over and asked Brotherdale to check on a flat tyre; when he got out of the car, they drove off.
In August 1977, Warsaw placed an advertisement in a music shop window seeking a replacement drummer. Stephen Morris, who had attended the same school as Curtis, was the sole respondent. Deborah Curtis, Ian's wife, stated that Morris "fitted perfectly" with the band, and that with his addition Warsaw became a "complete 'family. To avoid confusion with the London punk band Warsaw Pakt, the band renamed themselves Joy Division in early 1978, borrowing the name from the sexual slavery wing of a Nazi concentration camp mentioned in the 1955 novel House of Dolls. On 14 December, the group recorded their debut EP, An Ideal for Living, at Pennine Sound Studio and played their final gig as Warsaw on New Year's Eve at the Swinging Apple in Liverpool. Billed as Warsaw to ensure an audience, the band played their first gig as Joy Division on 25 January 1978 at Pip's Disco in Manchester.
Early releases
Joy Division were approached by RCA Records to record a cover of Nolan "N.F." Porter's "Keep on Keepin' On" at a Manchester recording studio. The band spent late March and April 1978 writing and rehearsing material. During the Stiff/Chiswick Challenge concert at Manchester's Rafters club on 14 April, they caught the attention of music producer Tony Wilson and manager Rob Gretton. Curtis berated Wilson for not putting the group on his Granada Television show So It Goes; Wilson responded that Joy Division would be the next band he would showcase on TV. Gretton, the venue's resident DJ, was so impressed by the band's performance that he convinced them to take him on as their manager. Gretton, whose "dogged determination" was later credited for much of the band's public success, contributed the business skills to provide Joy Division with a better foundation for creativity. Joy Division spent the first week of May 1978 recording at Manchester's Arrow Studios. The band were unhappy with the Grapevine Records head John Anderson's insistence on adding synthesiser into the mix to soften the sound, and asked to be dropped from the contract with RCA.
Joy Division made their recorded debut in June 1978 when the band self-released An Ideal for Living, and two weeks later their track "At a Later Date" was featured on the compilation album Short Circuit: Live at the Electric Circus (which had been recorded live in October 1977). In the Melody Maker review, Chris Brazier said that it "has the familiar rough-hewn nature of home-produced records, but they're no mere drone-vendors—there are a lot of good ideas here, and they could be a very interesting band by now, seven months on". The packaging of An Ideal for Living—which featured a drawing of a Hitler Youth member on the cover—coupled with the nature of the band's name fuelled speculation about their political affiliations. While Hook and Sumner later said they were intrigued by fascism at the time, Morris believed that the group's dalliance with Nazi imagery came from a desire to keep memories of the sacrifices of their parents and grandparents during World War II alive. He argued that accusations of neo-Nazi sympathies merely provoked the band "to keep on doing it, because that's the kind of people we are".
In September 1978, Joy Division made their television debut performing "Shadowplay" on So It Goes, with an introduction by Wilson. In October, Joy Division contributed two tracks recorded with producer Martin Hannett to the compilation double-7" EP A Factory Sample, the first release by Tony Wilson's record label, Factory Records. In the NME review of the EP, Paul Morley praised the band as "the missing link" between Elvis Presley and Siouxsie and the Banshees. Joy Division joined Factory's roster, after buying themselves out of the RCA deal. Gretton was made a label partner to represent the interests of the band. On 27 December, during the drive home from gig at the Hope and Anchor in London, Curtis suffered his first recognised severe epileptic seizure and was hospitalised. Meanwhile, Joy Division's career progressed, and Curtis appeared on the 13 January 1979 cover of NME. That month the band recorded their session for BBC Radio 1 DJ John Peel. According to Deborah Curtis, "Sandwiched in between these two important landmarks was the realisation that Ian's illness was something we would have to learn to accommodate".
Unknown Pleasures and breakthrough
Joy Division's debut album, Unknown Pleasures, was recorded at Strawberry Studios, Stockport, in April 1979. Producer Martin Hannett significantly altered their live sound, a fact that greatly displeased the band at the time; however, in 2006, Hook said that in retrospect Hannett had done a good job and "created the Joy Division sound". The album cover was designed by Peter Saville, who went on to provide artwork for future Joy Division and New Order releases.
Unknown Pleasures was released in June and sold through its initial pressing of 10,000 copies. Wilson said the success turned the indie label into a true business and a "revolutionary force" that operated outside of the major record label system. Reviewing the album for Melody Maker, writer Jon Savage described the album as an "opaque manifesto" and declared it "one of the best, white, English, debut LPs of the year".
Joy Division performed on Granada TV again in July 1979, and made their only nationwide TV appearance in September on BBC2's Something Else. They supported the Buzzcocks in a 24-venue UK tour that began that October, which allowed the band to quit their regular jobs. The non-album single "Transmission" was released in November. Joy Division's burgeoning success drew a devoted following who were stereotyped as "intense young men dressed in grey overcoats".
Closer and health problems
Joy Division toured Europe in January 1980. Although the schedule was demanding, Curtis experienced only two grand mal seizures, both in the final two months of the tour. That March, the band recorded their second album, Closer, with Hannett at London's Britannia Row Studios. That month they released the "Licht und Blindheit" single, with "Atmosphere" as the A-side and "Dead Souls" as the B-side, on the French independent label Sordide Sentimental.
A lack of sleep and long hours destabilised Curtis's epilepsy, and his seizures became almost uncontrollable. He often had seizures during performances, which some audience members believed were part of the performance. The seizures left him feeling ashamed and depressed, and the band became increasingly worried about Curtis's condition. On 7 April 1980, Curtis attempted suicide by overdosing on his anti-seizure medication, phenobarbitone. The following evening, Joy Division were scheduled to play a gig at the Derby Hall in Bury. Curtis was too ill to perform, so at Gretton's insistence the band played a combined set with Alan Hempsall of Crispy Ambulance and Simon Topping of A Certain Ratio singing on the first few songs. When Topping came back towards the end of the set, some audience members threw bottles at the stage. Curtis's ill health led to the cancellation of several other gigs that April. Joy Division's final live performance was held at the University of Birmingham's High Hall on 2 May, and included their only performance of "Ceremony", one of the last songs written by Curtis.
Hannett's production has been widely praised. However, as with Unknown Pleasures, both Hook and Sumner were unhappy with the production. Hook said that when he heard the final mix of "Atrocity Exhibition" he was disappointed that the abrasiveness had been toned down. He wrote; "I was like, head in hands, 'Oh fucking hell, it's happening again ... Martin had fucking melted the guitar with his Marshall Time Waster. Made it sound like someone strangling a cat and, to my mind, absolutely killed the song. I was so annoyed with him and went in and gave him a piece of my mind but he just turned round and told me to fuck off."
Curtis' suicide and aftermath
Joy Division were scheduled to commence their first US/Canada tour in May 1980. Curtis had expressed enthusiasm about the tour, but his relationship with his wife, Deborah, was under strain; Deborah was excluded from the band's inner circle, and Curtis was having an affair with Belgian journalist and music promoter Annik Honoré, whom he met on tour in Europe in 1979. He was also anxious about how American audiences would react to his epilepsy.
The evening before the band were due to depart for America, Curtis returned to his Macclesfield home to talk to Deborah. He asked her to drop an impending divorce suit, and asked her to leave him alone in the house until he caught a train to Manchester the following morning. Early on 18 May 1980, having spent the night watching the Werner Herzog film Stroszek, Curtis hanged himself in his kitchen. Deborah discovered his body later that day when she returned.
The suicide shocked the band and their management. In 2005, Wilson said: "I think all of us made the mistake of not thinking his suicide was going to happen ... We all completely underestimated the danger. We didn't take it seriously. That's how stupid we were." Music critic Simon Reynolds said Curtis's suicide "made for instant myth". Jon Savage's obituary said that "now no one will remember what his work with Joy Division was like when he was alive; it will be perceived as tragic rather than courageous". In June 1980, Joy Division's single "Love Will Tear Us Apart" was released, which hit number thirteen on the UK Singles Chart. In July 1980, Closer was released, and peaked at number six on the UK Albums Chart. NME reviewer Charles Shaar Murray wrote, "Closer is as magnificent a memorial (for 'Joy Division' as much as for Ian Curtis) as any post-Presley popular musician could have."
Morris said that even without Curtis's death, it is unlikely that Joy Division would have endured. The members had made a pact long before Curtis's death that, should any member leave, the remaining members would change the band name. The band re-formed as New Order, with Sumner on vocals; they later recruited Morris's girlfriend Gillian Gilbert as keyboardist and second guitarist. Gilbert had befriended the band and played guitar at a Joy Division performance when Curtis had been unable to play.
New Order's debut single, "Ceremony" (1981), was formed from the last two songs written with Curtis. New Order struggled in their early years to escape the shadow of Joy Division, but went on to achieve far greater commercial success with a different, more upbeat and dance-orientated sound.
Various Joy Division outtakes and live material have been released. Still, featuring live tracks and rare recordings, was issued in 1981. Factory issued the Substance compilation in 1988, including several out-of-print singles. Permanent was released in 1995 by London Records, which had acquired the Joy Division catalogue after Factory's 1992 bankruptcy. A comprehensive box set, Heart and Soul, appeared in 1997.
Musical style
Sound
Joy Division took time to develop their style and quickly evolved from their punk roots. Their sound during their early inception as Warsaw was described as fairly generic and "undistinguished punk-inflected hard-rock". Critic Simon Reynolds observed how the band's originality only "really became apparent as the songs got slower", and their music took on a "sparse" quality. According to Reynolds, "Hook's bass carried the melody, Bernard Sumner's guitar left gaps rather than filling up the group's sound with dense riffage and Steve Morris' drums seemed to circle the rim of a crater." According to music critic Jon Savage, "Joy Division were not punk but they were directly inspired by its energy". In 1994 Sumner said the band's characteristic sound "came out naturally: I'm more rhythm and chords, and Hooky was melody. He used to play high lead bass because I liked my guitar to sound distorted, and the amplifier I had would only work when it was at full volume. When Hooky played low, he couldn't hear himself. Steve has his own style which is different to other drummers. To me, a drummer in the band is the clock, but Steve wouldn't be the clock, because he's passive: he would follow the rhythm of the band, which gave us our own edge." By Closer, Curtis had adapted a low baritone voice, drawing comparisons to Jim Morrison of the Doors (one of Curtis's favourite bands).
Sumner largely acted as the band's director, a role he continued in New Order. While Sumner was the group's primary guitarist, Curtis played the instrument on a few recorded songs and during a few shows. Curtis hated playing guitar, but the band insisted he do so. Sumner said, "He played in quite a bizarre way and that to us was interesting, because no one else would play like Ian". During the recording sessions for Closer, Sumner began using self-built synthesisers and Hook used a six-string bass for more melody.
Producer Martin Hannett "dedicated himself to capturing and intensifying Joy Division's eerie spatiality". Hannett believed punk rock was sonically conservative because of its refusal to use studio technology to create sonic space. The producer instead aimed to create a more expansive sound on the group's records. Hannett said, "[Joy Division] were a gift to a producer, because they didn't have a clue. They didn't argue". Hannett demanded clean and clear "sound separation" not only for individual instruments, but even for individual pieces of Morris's drumkit. Morris recalled, "Typically on tracks he considered to be potential singles, he'd get me to play each drum on its own to avoid any bleed-through of sound". Music journalist Richard Cook noted that Hannett's role was "crucial". There are "devices of distance" in his production and "the sound is an illusion of physicality".
Lyrics
Curtis was the band's sole lyricist, and he typically composed his lyrics in a notebook, independently of the eventual music to evolve. The music itself was largely written by Sumner and Hook as the group jammed during rehearsals. Curtis's imagery and word choice often referenced "coldness, pressure, darkness, crisis, failure, collapse, loss of control". In 1979, NME journalist Paul Rambali wrote, "The themes of Joy Division's music are sorrowful, painful and sometimes deeply sad." Music journalist Jon Savage wrote that "Curtis's great lyrical achievement was to capture the underlying reality of a society in turmoil, and to make it both universal and personal," while noting that "the lyrics reflected, in mood and approach, his interest in romantic and science-fiction literature." Critic Robert Palmer wrote that William S. Burroughs and J. G. Ballard were "obvious influences" to Curtis, and Morris also remembered the singer reading T. S. Eliot. Deborah Curtis also remembered Curtis reading works by writers such as Fyodor Dostoevsky, Friedrich Nietzsche, Jean-Paul Sartre, Franz Kafka, and Hermann Hesse.
Curtis was unwilling to explain the meaning behind his lyrics and Joy Division releases were absent of any lyric sheets. He told the fanzine Printed Noise, "We haven't got a message really; the lyrics are open to interpretation. They're multidimensional. You can read into them what you like." The other Joy Division members have said that at the time, they paid little attention to the contents of Curtis' lyrics. In a 1987 interview with Option, Morris said that they "just thought the songs were sort of sympathetic and more uplifting than depressing. But everyone's got their own opinion." Deborah Curtis recalled that only with the release of Closer did many who were close to the singer realise "[h]is intentions and feelings were all there within the lyrics". The surviving members regret not seeing the warning signs in Curtis's lyrics. Morris said that "it was only after Ian died that we sat down and listened to the lyrics...you'd find yourself thinking, 'Oh my God, I missed this one'. Because I'd look at Ian's lyrics and think how clever he was putting himself in the position of someone else. I never believed he was writing about himself. Looking back, how could I have been so bleedin' stupid? Of course he was writing about himself. But I didn't go in and grab him and ask, 'What's up?' I have to live with that".
Live performances
In contrast to the sound of their studio recordings, Joy Division typically played loudly and aggressively during live performances. The band were especially unhappy with Hannett's mix of Unknown Pleasures, which reduced the abrasiveness of their live sound for a more cerebral and ghostly sound. According to Sumner "the music was loud and heavy, and we felt that Martin had toned it down, especially with the guitars".
During their live performances, the group did not interact with the audience; according to Paul Morley, "During a Joy Division set, outside of the songs, you'll be lucky to hear more than two or three words. Hello and goodbye. No introductions, no promotion." Curtis would often perform what became known as his "'dead fly' dance", as if imitating a seizure; his arms would "start flying in [a] semicircular, hypnotic curve". Simon Reynolds noted that Curtis's dancing style was reminiscent of an epileptic fit, and that he was dancing in the manner for some months before he was diagnosed with epilepsy. Live performances became problematic for Joy Division, due to Curtis's condition. Sumner later said, "We didn't have flashing lights, but sometimes a particular drum beat would do something to him. He'd go off in a trance for a bit, then he'd lose it and have an epileptic fit. We'd have to stop the show and carry him off to the dressing room where he'd cry his eyes out because this appalling thing had just happened to him".
Influences
Sumner wrote that Curtis was inspired by artists such as the Doors, Iggy Pop, David Bowie, Kraftwerk, the Velvet Underground and Neu!. Hook has also related that Curtis was particularly influenced by Iggy Pop's stage persona. The group were inspired by Kraftwerk's "marriage between humans and machines", and the inventiveness of their electronic music. Joy Division played Trans-Europe Express through the PA before they went on stage, "to get a momentum". Bowie's "Berlin Trilogy" elaborated with Brian Eno, influenced them; the "cold austerity" of the synthesisers on the b-sides of Heroes and Low albums, was a "music looking at the future". Morris cited the "unique style" of Velvet Underground's Maureen Tucker and the motorik drum beats, from Neu! and Can. Morris also credited Siouxsie and the Banshees because their "first drummer Kenny Morris played mostly toms" and "the sound of cymbals was forbidden". Hook said that "Siouxsie and the Banshees were one of our big influences ... The way the guitarist and the drummer played was a really unusual way of playing". Hook drew inspiration from the style of bassist Jean-Jacques Burnel and his early material with the Stranglers; he also credited Carol Kaye and her musical basslines on early 1970s work of the Temptations. Sumner mentioned "the raw, nasty, unpolished edge" in the guitars of the Rolling Stones, the simple riff of "Vicious" on Lou Reed's Transformer, and Neil Young. His musical horizon went up a notch with Jimi Hendrix, he realised "it wasn't about little catchy tunes ... it was what you could do sonically with a guitar."
Legacy
Despite their short career, Joy Division have exerted a wide-reaching influence. John Bush of AllMusic argues that Joy Division "became the first band in the post-punk movement by ... emphasizing not anger and energy but mood and expression, pointing ahead to the rise of melancholy alternative music in the '80s."
Joy Division have influenced bands including their contemporaries the Cure and U2, to later acts such as Bloc Party, Editors, Interpol, The Proclaimers, and Soundgarden. In 1980, U2 singer Bono said that Joy Division were "one of the most important bands of the last four or five years". Rapper Danny Brown named his album Atrocity Exhibition after the Joy Division song, whose title was partially inspired by the 1970 J. G. Ballard collection of condensed novels of the same name. In 2005 both New Order and Joy Division were inducted into the UK Music Hall of Fame.
The band's dark and gloomy sound, which Martin Hannett described in 1979 as "dancing music with Gothic overtones", presaged the gothic rock genre. While the term "gothic" originally described a "doomy atmosphere" in music of the late 1970s, the term was soon applied to specific bands like Bauhaus that followed in the wake of Joy Division and Siouxsie and the Banshees. Standard musical fixtures of early gothic rock bands included "high-pitched post-Joy Division basslines usurp[ing] the melodic role" and "vocals that were either near operatic and Teutonic or deep, droning alloys of Jim Morrison and Ian Curtis."
Joy Division have been dramatised in two biopics. 24 Hour Party People (2002) is a fictionalised account of Factory Records in which members of the band appear as supporting characters. Tony Wilson said of the film, "It's all true, it's all not true. It's not a fucking documentary," and that he favoured the "myth" over the truth. The 2007 film Control, directed by Anton Corbijn, is a biography of Ian Curtis (portrayed by Sam Riley) that uses Deborah Curtis's biography of her late husband, Touching from a Distance (1995), as its basis. Control had its international premiere on the opening night of Director's Fortnight at the 2007 Cannes Film Festival, where it was critically well received. That year Grant Gee directed the band documentary Joy Division.
Band members
Ian Curtis – lead vocals, guitar, melodica (1976–1980)
Bernard Sumner – lead guitar, keyboards, backing vocals, bass (1976–1980)
Peter Hook – bass, backing vocals, guitar (1976–1980)
Terry Mason – drums (1976–1977)
Tony Tabac – drums (1977)
Steve Brotherdale – drums (1977)
Stephen Morris – drums, percussion (1977–1980)
Timeline
Discography
Unknown Pleasures (1979)
Closer (1980)
References
Works cited
Further reading
External links
1976 establishments in England
1980 disestablishments in England
English gothic rock groups
English post-punk music groups
English new wave musical groups
Enigma Records artists
Factory Records artists
Music in Salford
Musical groups disestablished in 1980
Musical groups established in 1976
Musical groups from Greater Manchester
Musical quartets
New Order (band)
Qwest Records artists
Virgin Records artists | true | [
"\"Say Kids What Time Is It?\" is the debut single of British dance music duo Coldcut. It is renowned as one of the first tracks to be built entirely around music sampling.\n\nBackground\n\nRelease of the single\nThe single was originally released in early 1987 as a white label 12\" single on Ahead of Our Time Records, with only 500 copies pressed for sale. However, as the song started to pick up some popularity, more copies were pressed, again on the 12\" vinyl single.\n\nSong background\nThe track was built entirely around various samples. The song started with the sampled line \"Say kids, what time is it?\" from the theme song to the children's television show Howdy Doody, from which the song took its title. The song sampled many hip hop, funk and soul tracks as well.\n\nColdcut would later gain more popularity in the music scene with their remix of the Eric B. & Rakim song \"Paid in Full\", which also incorporated the use of various samples. It also used the \"Goodnight, kids\" sample originally sampled from Howdy Doody, previously used by Coldcut on \"Say Kids What Time Is It?\"\n\nInfluence\nShortly after the release of sample-built records such as \"Say Kids What Time Is It?\", the popularity of sample-built tracks began to emerge. The tracks \"Pump Up the Volume\" by M|A|R|R|S and \"Theme from S'Express\" by S'Express, which both similarly incorporated the sample style of \"Say Kids What Time Is It?\", both peaked at #1 on the UK Singles Chart. Coldcut themselves, still incorporating their sampling style, experienced more success with singles such as \"Doctorin' the House\".\n\nMusic video\nThe song's low-budget music video consisted of low-quality, grainy scenes of people partying and dancing, with various speech bubbles and subtitles added during some shots.\n\nThe music video was edited to be only 2 minutes 22 seconds long, cutting out roughly 2 minutes of the original track.\n\nTrack listing\n12\" white label single (EFA, MS 17082 02)\nA1 \"Say Kids What Time Is It?\"\nB1 untitled\nB2 untitled\nB3 untitled\nB4 untitled\n\n12\" single (not on label, BOOT 1)\nA \"Say Kids (What Time Is It?)\"\nB1 untitled (instrumental cut-up)\nB2 untitled (instrumental cut-up)\nB3 untitled (samples for scratching)\nB4 untitled (samples for scratching)\n\n12\" single (release credited as \"Say Kids\", Ahead of Our Time, CCUT 8 TL)\nA \"Find a Way\" (with Queen Latifah)\nB1 \"Say Kids\"\nB2 \"Untitled (Breaks)\"\nB3 \"Untitled (Breaks)\"\n\nReferences\n\n1987 debut singles\nColdcut songs\n1987 songs\nBreakbeat songs",
"Ivan Nebesnyy (born July 15, 1971) is a Ukrainian composer and music producer. \n\nGraduated from Lviv Conservatory in 1995 (composer class under Myroslav Skoryk). In 1996 Ivan Nebesnyy founded an ensemble \"Cluster\" which performed music by modern composers from Ukraine and abroad. In 2006 – 2011 Ivan Nebesnyy was a music director of the “Kyiv Music Fest”.\n\nSelected works \nWorks by Ivan Nebesny are considered as postmodern. Among them:\n\nOpera “Fox Mykyta” based on the poem by Ivan Franko (premiered in Lviv opera in 2020);\n“Heavenly Shchedryk”, for carillon, mixed choir, children’s choir, symphony orchestra and soundtrack with the sounds of “Maidan Nezalezhnosti)”;\n“What Zarathustra did not say about” for violin, piano, percussion and tape;\nMusic for Drama theatre, soundtracks and others.\n\nHonors\nLevko Revutsky award (2002),\nMykhailo Verykivsky award (2011)),\nKyiv Pectoral award (2011)), \nBoris Lyatoshinsky award (2020)\n\nReferences\n\nLinks\nOfficial page\n\nUkrainian composers\n1971 births\nLiving people\n20th-century classical composers\n21st-century classical composers"
]
|
[
"The King and I",
"Historical background"
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| C_a7100cea58f5442e87cf4742cef4a56f_1 | whats the historical background of the king | 1 | Whats the historical background of the king in The King and I? | The King and I | Mongkut, King of Siam, was about 57 years old in 1861. He had lived half his life as a Buddhist monk, was an able scholar, and founded a new order of Buddhism and a temple in Bangkok (paid for by his half-brother, King Nangklao). Through his decades of devotion, Mongkut acquired an ascetic lifestyle and a firm grasp of Western languages. When Nangklao died in 1850, Mongkut became king. At that time, various European countries were striving for dominance, and American traders sought greater influence in Southeast Asia. He ultimately succeeded in keeping Siam an independent nation, partly by familiarizing his heirs and harem with Western ways. In 1861, Mongkut wrote to his Singapore agent, Tan Kim Ching, asking him to find a British lady to be governess to the royal children. At the time, the British community in Singapore was small, and the choice fell on a recent arrival there, Anna Leonowens (1831-1915), who was running a small nursery school in the colony. Leonowens was the Anglo-Indian daughter of an Indian Army soldier and the widow of Thomas Owens, a clerk and hotel keeper. She had arrived in Singapore two years previously, claiming to be the genteel widow of an officer and explaining her dark complexion by stating that she was Welsh by birth. Her deception was not detected until long after her death, and had still not come to light when The King and I was written. Upon receiving the King's invitation, Leonowens sent her daughter, Avis, to school in England, to give Avis the social advantage of a prestigious British education, and traveled to Bangkok with her five-year-old son, Louis. King Mongkut had sought a Briton to teach his children and wives after trying local missionaries, who used the opportunity to proselytize. Leonowens initially asked for $150 in Singapore currency per month. Her additional request, to live in or near the missionary community to ensure she was not deprived of Western company, aroused suspicion in Mongkut, who cautioned in a letter, "we need not have teacher of Christianity as they are abundant here". King Mongkut and Leonowens came to an agreement: $100 per month and a residence near the royal palace. At a time when most transport in Bangkok was by boat, Mongkut did not wish to have to arrange for the teacher to get to work every day. Leonowens and Louis temporarily lived as guests of Mongkut's prime minister, and after the first house offered was found to be unsuitable, the family moved into a brick residence (wooden structures decayed quickly in Bangkok's climate) within walking distance of the palace. In 1867, Leonowens took a six-month leave of absence to visit her daughter Avis in England, intending to deposit Louis at a school in Ireland and return to Siam with Avis. However, due to unexpected delays and opportunities for further travel, Leonowens was still abroad in late 1868, when Mongkut fell ill and died. Leonowens did not return to Siam, although she continued to correspond with her former pupil, the new king Chulalongkorn. CANNOTANSWER | Mongkut, King of Siam, was about 57 years old in 1861. He had lived half his life as a Buddhist monk, | The King and I is the fifth musical by the team of Rodgers and Hammerstein. It is based on Margaret Landon's novel, Anna and the King of Siam (1944), which is in turn derived from the memoirs of Anna Leonowens, governess to the children of King Mongkut of Siam in the early 1860s. The musical's plot relates the experiences of Anna, a British schoolteacher who is hired as part of the King's drive to modernize his country. The relationship between the King and Anna is marked by conflict through much of the piece, as well as by a love to which neither can admit. The musical premiered on March 29, 1951, at Broadway's St. James Theatre. It ran for nearly three years, making it the fourth-longest-running Broadway musical in history at the time, and has had many tours and revivals.
In 1950, theatrical attorney Fanny Holtzmann was looking for a part for her client, veteran leading lady Gertrude Lawrence. Holtzmann realized that Landon's book would provide an ideal vehicle and contacted Rodgers and Hammerstein, who were initially reluctant but agreed to write the musical. The pair initially sought Rex Harrison to play the supporting part of the King, a role he had played in the 1946 film made from Landon's book, but he was unavailable. They settled on the young actor and television director Yul Brynner.
The musical was an immediate hit, winning Tony Awards for Best Musical, Best Actress (for Lawrence) and Best Featured Actor (for Brynner). Lawrence died unexpectedly of cancer a year and a half after the opening, and the role of Anna was played by several actresses during the remainder of the Broadway run of 1,246 performances. A hit London run and U.S. national tour followed, together with a 1956 film for which Brynner won an Academy Award, and the musical was recorded several times. In later revivals, Brynner came to dominate his role and the musical, starring in a four-year national tour culminating in a 1985 Broadway run shortly before his death.
Christopher Renshaw directed major revivals on Broadway (1996), winning the Tony Award for Best Revival, and in the West End (2000). A 2015 Broadway revival won another Tony for Best Revival. Both professional and amateur revivals of The King and I continue to be staged regularly throughout the English-speaking world.
Historical background
Mongkut, King of Siam, was about 57 years old in 1861. He had lived half his life as a Buddhist monk, was an able scholar, and founded a new order of Buddhism and a temple in Bangkok (paid for by his half-brother, King Nangklao). Through his decades of devotion, Mongkut acquired an ascetic lifestyle and a firm grasp of Western languages. When Nangklao died in 1850, Mongkut became king. At that time, various European countries were striving for dominance, and American traders sought greater influence in Southeast Asia. He ultimately succeeded in keeping Siam an independent nation, partly by familiarizing his heirs and harem with Western ways.
In 1861, Mongkut wrote to his Singapore agent, Tan Kim Ching, asking him to find a British lady to be governess to the royal children. At the time, the British community in Singapore was small, and the choice fell on a recent arrival there, Anna Leonowens (1831–1915), who was running a small nursery school in the colony. Leonowens was the Anglo-Indian daughter of an Indian Army soldier and the widow of Thomas Owens, a clerk and hotel keeper. She had arrived in Singapore two years previously, claiming to be the genteel widow of an officer and explaining her dark complexion by stating that she was Welsh by birth. Her deception was not detected until long after her death, and had still not come to light when The King and I was written.
Upon receiving the King's invitation, Leonowens sent her daughter, Avis, to school in England, to give Avis the social advantage of a prestigious British education, and traveled to Bangkok with her five-year-old son, Louis. King Mongkut had sought a Briton to teach his children and wives after trying local missionaries, who used the opportunity to proselytize. Leonowens initially asked for $150 in Singapore currency per month. Her additional request, to live in or near the missionary community to ensure she was not deprived of Western company, aroused suspicion in Mongkut, who cautioned in a letter, "we need not have teacher of Christianity as they are abundant here". King Mongkut and Leonowens came to an agreement: $100 per month and a residence near the royal palace. At a time when most transport in Bangkok was by boat, Mongkut did not wish to have to arrange for the teacher to get to work every day. Leonowens and Louis temporarily lived as guests of Mongkut's prime minister, and after the first house offered was found to be unsuitable, the family moved into a brick residence (wooden structures decayed quickly in Bangkok's climate) within walking distance of the palace.
In 1867, Leonowens took a six-month leave of absence to visit her daughter Avis in England, intending to deposit Louis at a school in Ireland and return to Siam with Avis. However, due to unexpected delays and opportunities for further travel, Leonowens was still abroad in late 1868, when Mongkut fell ill and died. Leonowens did not return to Siam, although she continued to correspond with her former pupil, the new king Chulalongkorn.
Creation
In 1950, British actress Gertrude Lawrence's business manager and attorney, Fanny Holtzmann, was looking for a new vehicle for her client when the 1944 Margaret Landon novel Anna and the King of Siam (a fictionalized version of Leonowens' experiences) was sent to her by Landon's agent. According to Rodgers biographer Meryle Secrest, Holtzmann was worried that Lawrence's career was fading. The 51-year-old actress had appeared only in plays, not in musicals, since Lady in the Dark closed in 1943. Holtzmann agreed that a musical based on Anna and the King of Siam would be ideal for her client, who purchased the rights to adapt the novel for the stage.
Holtzmann initially wanted Cole Porter to write the score, but he declined. She was going to approach Noël Coward next, but happened to meet Dorothy Hammerstein (Oscar's wife) in Manhattan. Holtzmann told Dorothy Hammerstein that she wanted Rodgers and Hammerstein to create a show for Lawrence, and asked her to see that her husband read a book that Holtzmann would send over. In fact, both Dorothy Rodgers and Dorothy Hammerstein had read the novel in 1944 and had urged their husbands to consider it as a possible subject for a musical. Dorothy Hammerstein had known Gertrude Lawrence since 1925, when they had both appeared in André Charlot's London Revue of 1924 on Broadway and on tour in North America.
Rodgers and Hammerstein had disliked Landon's novel as a basis for a musical when it was published, and their views still held. It consists of vignettes of life at the Siamese court, interspersed with descriptions of historical events unconnected with each other, except that the King creates most of the difficulties in the episodes, and Anna tries to resolve them. Rodgers and Hammerstein could see no coherent story from which a musical could be made until they saw the 1946 film adaptation, starring Irene Dunne and Rex Harrison, and how the screenplay united the episodes in the novel. Rodgers and Hammerstein were also concerned about writing a star vehicle. They had preferred to make stars rather than hire them, and engaging the legendary Gertrude Lawrence would be expensive. Lawrence's voice was also a worry: her limited vocal range was diminishing with the years, while her tendency to sing flat was increasing. Lawrence's temperament was another concern: though she could not sing like one, the star was known to be capable of diva-like behavior. In spite of this, they admired her acting – what Hammerstein called her "magic light", a compelling presence on stage – and agreed to write the show. For her part, Lawrence committed to remaining in the show until June 1, 1953, and waived the star's usual veto rights over cast and director, leaving control in the hands of the two authors.
Hammerstein found his "door in" to the play in Landon's account of a slave in Siam writing about Abraham Lincoln. This would eventually become the narrated dance, "The Small House of Uncle Thomas". Since a frank expression of romantic feelings between the King and Anna would be inappropriate in view of both parties' upbringing and prevailing social mores, Hammerstein wrote love scenes for a secondary couple, Tuptim, a junior wife of the King, and Lun Tha, a scholar. In the Landon work, the relationship is between Tuptim and a priest, and is not romantic. The musical's most radical change from the novel was to have the King die at the end of the musical. Also, since Lawrence was not primarily a singer, the secondary couple gave Rodgers a chance to write his usual "soaring" romantic melodies. In an interview for The New York Times, Hammerstein indicated that he wrote the first scene before leaving for London and the West End production of Carousel in mid-1950; he wrote a second scene while in the British capital.
The pair had to overcome the challenge of how to represent Thai speech and music. Rodgers, who had experimented with Asian music in his short-lived 1928 musical with Lorenz Hart titled Chee-chee, did not wish to use actual Thai music, which American audiences might not find accessible. Instead, he gave his music an exotic flavor, using open fifths and chords in unusual keys, in ways pleasant to Western ears. Hammerstein faced the problem of how to represent Thai speech; he and Rodgers chose to convey it by musical sounds, made by the orchestra. For the King's style of speech, Hammerstein developed an abrupt, emphatic way of talking, which was mostly free of articles, as are many East Asian languages. The forceful style reflected the King's personality and was maintained even when he sang, especially in his one solo, "A Puzzlement". Many of the King's lines, including his first utterance, "Who? Who? Who?", and much of the initial scene between him and Anna, are drawn from Landon's version. Nevertheless, the King is presented more sympathetically in the musical than in the novel or the 1946 film, as the musical omits the torture and burning at the stake of Lady Tuptim and her partner.
With Rodgers laid up with back trouble, Hammerstein completed most of the musical's book before many songs were set to music. Early on, Hammerstein contacted set designer Jo Mielziner and costume designer Irene Sharaff and asked them to begin work in coordination with each other. Sharaff communicated with Jim Thompson, an American who had revived the Thai silk industry after World War II. Thompson sent Sharaff samples of silk cloth from Thailand and pictures of local dress from the mid-19th century. One such picture, of a Thai woman in western dress, inspired the song "Western People Funny", sung by the King's chief wife, Lady Thiang, while dressed in western garb.
Producer Leland Hayward, who had worked with the duo on South Pacific, approached Jerome Robbins to choreograph a ballet for "The Small House of Uncle Thomas". Robbins was very enthusiastic about the project and asked to choreograph the other musical numbers as well, although Rodgers and Hammerstein had originally planned little other dancing. Robbins staged "The Small House of Uncle Thomas" as an intimate performance, rather than a large production number. His choreography for the parade of the King's children to meet their teacher ("March of the Royal Siamese Children") drew great acclaim. Robert Russell Bennett provided the orchestrations, and Trude Rittmann arranged the ballet music.
The pair discussed having an Act 1 musical scene involving Anna and the King's wives. The lyrics for that scene proved to be very difficult for Hammerstein to write. He first thought that Anna would simply tell the wives something about her past, and wrote such lyrics as "I was dazzled by the splendor/Of Calcutta and Bombay" and "The celebrities were many/And the parties very gay/(I recall a curry dinner/And a certain Major Grey)." Eventually, Hammerstein decided to write about how Anna felt, a song which would not only explain her past and her motivation for traveling with her son to the court of Siam, but also serve to establish a bond with Tuptim and lay the groundwork for the conflict that devastates Anna's relationship with the King. "Hello, Young Lovers", the resulting song, was the work of five exhausting weeks for Hammerstein. He finally sent the lyrics to Rodgers by messenger and awaited his reaction. Hammerstein considered the song his best work and was anxious to hear what Rodgers thought of it, but no comment came from Rodgers. Pride kept Hammerstein from asking. Finally, after four days, the two happened to be talking on the phone about other matters, and at the end of the conversation, Rodgers stated, very briefly, that the lyric was fine. Josh Logan, who had worked closely with Hammerstein on South Pacific, listened to the usually unflappable writer pour out his unhappy feelings. It was one of the few times that Hammerstein and Rodgers did not display a united front.
Casting and auditions
Although the part of the King was only a supporting role to Lawrence's Anna, Hammerstein and Rodgers thought it essential that a well-known theatrical actor play it. The obvious choice was Rex Harrison, who had played the King in the movie, but he was booked, as was Noël Coward. Alfred Drake, the original Curly in Oklahoma!, made contractual demands which were deemed too high. With time running short before rehearsals, finding an actor to play the King became a major concern. Mary Martin, the original Nellie Forbush in South Pacific, suggested that her co-star in a 1946 musical set in China, Lute Song, try for the role. Rodgers recounted the audition of the Russian-American performer, Yul Brynner:
Brynner termed Rodgers' account "very picturesque, but totally inaccurate". He recalled that as an established television director (in CBS's Starlight Theatre, for example), he was reluctant to go back on the stage. His wife, his agent and Martin finally convinced him to read Hammerstein's working script, and once he did, he was fascinated by the character of the King and was eager to do the project. In any case, Brynner's fierce, mercurial, dangerous, yet surprisingly sensitive King was an ideal foil for Lawrence's strong-willed, yet vulnerable Anna, and when the two finally came together in "Shall We Dance?", where the King hesitantly touches Anna's waist, the chemistry was palpable.
Pre-rehearsal preparations began in late 1950. Hammerstein had wanted Logan to direct and co-write the book, as he had for South Pacific, but when Logan declined, Hammerstein decided to write the entire book himself. Instead of Logan, the duo hired as director John van Druten, who had worked with Lawrence years earlier. The costume designer, Sharaff, wryly pointed the press to the incongruity of a Victorian British governess in the midst of an exotic court: "The first-act finale of The King and I will feature Miss Lawrence, Mr. Brynner, and a pink satin ball gown." Mielziner's set plan was the simplest of the four Rodgers and Hammerstein musicals he had worked on, with one main set (the throne room), a number of front-stage drops (for the ship and Anna's room, for example) and the entire stage cleared for "The Small House of Uncle Thomas".
The show was budgeted at $250,000 (US$ in dollars) making it the most expensive Rodgers and Hammerstein production to that point, and prompting some mockery that costs exceeded even their expensive flop Allegro. Investors included Hammerstein, Rodgers, Logan, Martin, Billy Rose and Hayward. The children who were cast as the young princes and princesses came from a wide range of ethnic backgrounds, including Puerto Rican or Italian, though none were Thai. Johnny Stewart was the original Prince Chulalongkorn but left the cast after only three months, replaced by Ronnie Lee. Sandy Kennedy was Louis, and Broadway veteran Larry Douglas played Lun Tha.
Shortly before rehearsals began in January 1951, Rodgers had the first Tuptim, Doretta Morrow, sing the entire score to Lawrence, including Lawrence's own songs. Lawrence listened calmly, but when she met Rodgers and Hammerstein the following day, she treated Rodgers coldly, apparently seeing the composer's actions as flaunting her vocal deficiencies. Hammerstein and Rodgers' doubts about whether Lawrence could handle the part were assuaged by the sheer force of her acting. James Poling, a writer for Collier's who was allowed to attend the rehearsals, wrote of Lawrence preparing "Shall I Tell You What I Think of You?":
At his first meeting with Sharaff, Brynner, who had only a fringe of hair, asked what he was to do about it. When told he was to shave it, Brynner was horror-struck and refused, convinced he would look terrible. He finally gave in during tryouts and put dark makeup on his shaved head. The effect was so well-received that it became Brynner's trademark.
Lawrence's health caused her to miss several rehearsals, though no one knew what was wrong with her. When the tryout opened in New Haven, Connecticut on February 27, 1951, the show was nearly four hours long. Lawrence, suffering from laryngitis, had missed the dress rehearsal but managed to make it through the first public performance. The Variety critic noted that despite her recent illness she "slinks, acts, cavorts, and in general exhibits exceedingly well her several facets for entertaining", but the Philadelphia Bulletin printed that her "already thin voice is now starting to wear a great deal thinner". Leland Hayward came to see the show in New Haven and shocked Rodgers by advising him to close it before it went any further. Additionally, when the show left New Haven for Boston for more tryout performances, it was still at least 45 minutes too long. Gemze de Lappe, who was one of the dancers, recalled one cut that she regretted:
This song, "Waiting", was a trio for Anna, the King, and the Kralahome (the King's prime minister). "Who Would Refuse?", the Kralahome's only solo, was also dropped. Left without a note to sing, Mervyn Vye abandoned the show and was replaced by John Juliano. "Now You Leave", a song for Lady Thiang (played by Dorothy Sarnoff in the original production), was also cut. After the cuts, Rodgers and Hammerstein felt that the first act was lacking something. Lawrence suggested that they write a song for Anna and the children. Mary Martin reminded them of a song that had been cut from South Pacific, "Suddenly Lucky". Hammerstein wrote a new lyric for the melody, and the resulting song became "Getting to Know You". "Western People Funny" and "I Have Dreamed" were also added in Boston.
Brynner regretted that there were not more tryout performances, feeling that the schedule did not give him an adequate opportunity to develop the complex role of the King. When he told this to Hammerstein and Rodgers, they asked what sort of performance they would get from him, and he responded, "It will be good enough, it will get the reviews."
Plot
Act 1
In 1862, a strong-willed, widowed schoolteacher, Anna Leonowens, arrives in Bangkok, Siam (later known as Thailand) at the request of the King of Siam to tutor his many children. Anna's young son, Louis, fears the severe countenance of the King's prime minister, the Kralahome, but Anna refuses to be intimidated ("I Whistle a Happy Tune"). The Kralahome has come to escort them to the palace, where they are expected to live – a violation of Anna's contract, which calls for them to live in a separate house. She considers returning to Singapore aboard the vessel that brought them, but goes with her son and the Kralahome.
Several weeks pass, during which Anna and Louis are confined to their palace rooms. The King receives a gift from the king of Burma, a lovely slave girl named Tuptim, to be one of his many wives. She is escorted by Lun Tha, a scholar who has come to copy a design for a temple, and the two are secretly in love. Tuptim, left alone, declares that the King may own her, but not her heart ("My Lord and Master"). The King gives Anna her first audience. The schoolteacher is a part of his plan for the modernization of Siam; he is impressed when she already knows this. She raises the issue of her house with him, he dismisses her protests and orders her to talk with his wives. They are interested in her, and she tells them of her late husband, Tom ("Hello, Young Lovers"). The King presents her new pupils; Anna is to teach those of his children whose mothers are in favor with him – several dozen – and is to teach their mothers as well. The princes and princesses enter in procession ("March of the Royal Siamese Children"). Anna is charmed by the children, and formality breaks down after the ceremony as they crowd around her.
Anna has not given up on the house, and teaches the children proverbs and songs extolling the virtues of home life, to the King's irritation. The King has enough worries without battling the schoolteacher, and wonders why the world has become so complicated ("A Puzzlement"). The children and wives are hard at work learning English ("The Royal Bangkok Academy"). The children are surprised by a map showing how small Siam is compared with the rest of the world ("Getting to Know You"). As the crown prince, Chulalongkorn, disputes the map, the King enters a chaotic schoolroom. He orders the pupils to believe the teacher but complains to Anna about her lessons about "home". Anna stands her ground and insists on the letter of her contract, threatening to leave Siam, much to the dismay of wives and children. The King orders her to obey as "my servant"; she repudiates the term and hurries away. The King dismisses school, then leaves, uncertain of his next action. Meanwhile, Lun Tha comes upon Tuptim, and they muse about having to hide their relationship ("We Kiss in a Shadow").
In her room, Anna replays the confrontation in her mind, her anger building ("Shall I Tell You What I Think of You?"). Lady Thiang, the King's head wife, tells Anna that the King is troubled by his portrayal in the West as a barbarian, as the British are being urged to take over Siam as a protectorate. Anna is shocked by the accusations – the King is a polygamist, but he is no barbarian – but she is reluctant to see him after their argument. Lady Thiang convinces her that the King is deserving of support ("Something Wonderful"). Anna goes to him and finds him anxious for reconciliation. The King tells her that the British are sending an envoy to Bangkok to evaluate the situation. Anna "guesses" – the only guise in which the King will accept advice – that the King will receive the envoy in European style, and that the wives will be dressed in Western fashion. Tuptim has been writing a play based on a book that Anna has lent her, Uncle Tom's Cabin, that can be presented to the guests. News is brought to the King that the British are arriving much earlier than thought, and so Anna and the wives are to stay up all night to prepare. The King assembles his family for a Buddhist prayer for the success of the venture and also promises before Buddha that Anna will receive her own house "as provided in agreement, etc., etc."
Act 2
The wives are dressed in their new European-style gowns, which they find confining ("Western People Funny"). In the rush to prepare, the question of undergarments has been overlooked, and the wives have practically nothing on underneath their gowns. When the British envoy, Sir Edward Ramsay, arrives and gazes at them through a monocle, they are panicked by the "evil eye" and lift their skirts over their heads as they flee. Sir Edward is diplomatic about the incident. When the King is called away, it emerges that Sir Edward is an old flame of Anna's, and they dance in remembrance of old times, as Edward urges her to return to British society. The King returns and irritably reminds them that dancing is for after dinner.
As final preparations for the play are made, Tuptim steals a moment to meet with Lun Tha. He tells her he has an escape plan, and she should be ready to leave after the performance ("I Have Dreamed"). Anna encounters them, and they confide in her ("Hello, Young Lovers", reprise). The play ("Small House of Uncle Thomas", narrated ballet) is presented in a Siamese ballet-inspired dance. Tuptim is the narrator, and she tells her audience of the evil King Simon of Legree and his pursuit of the runaway slave Eliza. Eliza is saved by Buddha, who miraculously freezes a river and conceals her in snow. Buddha then causes the river to melt, drowning King Simon and his hunting party. The anti-slavery message is blunt.
After the play, Sir Edward reveals that the British threat has receded, but the King is distracted by his displeasure at Tuptim's rebellious message. After Sir Edward leaves, Anna and the King express their delight at how well the evening went, and he presents her with a ring. Secret police report that Tuptim is missing. The King realizes that Anna knows something; she parries his inquiry by asking why he should care: Tuptim is just another woman to him. He is delighted; she is at last understanding the Siamese perspective. Anna tries to explain to him the Western customs of courtship and tells him what it is like for a young woman at a formal dance ("Shall We Dance?"). He demands that she teach him the dance. She does, and in that dance they experience and express a love for each other that they can never speak aloud. They are interrupted by the Kralahome. Tuptim has been captured, and a search is on for Lun Tha. The King resolves to punish Tuptim, though she denies she and Lun Tha were lovers. Anna tries to dissuade him, but he is determined that her influence shall not rule, and he takes the whip himself. He turns to lash Tuptim, but under Anna's gaze is unable to swing the whip, and hurries away. Lun Tha is found dead, and Tuptim is dragged off, swearing to kill herself; nothing more is heard about her. Anna asks the Kralahome to give her ring back to the King; both schoolteacher and minister state their wish that she had never come to Siam.
Several months pass with no contact between Anna and the King. Anna is packed and ready to board a ship leaving Siam. Chulalongkorn arrives with a letter from the King, who has been unable to resolve the conflicts within himself and is dying. Anna hurries to the King's bedside and they reconcile. The King persuades her to take back the ring and to stay and assist the next king, Chulalongkorn. The dying man tells Anna to take dictation from the prince, and instructs the boy to give orders as if he were King. The prince orders the end of the custom of kowtowing that Anna hated. The King grudgingly accepts this decision. As Chulalongkorn continues, prescribing a less arduous bow to show respect for the king, his father dies. Anna kneels by the late King, holding his hand and kissing it, as the wives and children bow or curtsey, a gesture of respect to old king and new.
Principal roles and notable performers
Musical numbers
Act I
Overture – Orchestra
"I Whistle a Happy Tune" – Anna and Louis
"My Lord and Master" – Tuptim
"Hello, Young Lovers" – Anna
"March of the Royal Siamese Children" – Orchestra
"A Puzzlement" – King
"The Royal Bangkok Academy" – Anna, Wives and Children
"Getting to Know You" – Anna, Wives and Children
"We Kiss in a Shadow" – Tuptim and Lun Tha
"A Puzzlement" (reprise) – Louis and Prince Chulalongkorn
"Shall I Tell You What I Think of You?" – Anna
"Something Wonderful" – Lady Thiang
"Buddhist Prayer"/Act I finale – King and Company
Act II
Entr'acte – Orchestra
"Western People Funny" – Lady Thiang and Wives
"I Have Dreamed" – Tuptim and Lun Tha
"Hello, Young Lovers" (reprise) – Anna
"The Small House of Uncle Thomas" (Ballet) – Tuptim and Wives
"Song of the King" – King and Anna
"Shall We Dance?" – Anna and the King
"I Whistle a Happy Tune" (reprise) – Anna
"Something Wonderful" (reprise, finale ultimo) – Orchestra
Productions
Original productions
The King and I opened on Broadway on March 29, 1951, with a wide expectation of a hit by the press and public. Both Hammerstein and Rodgers professed to be worried. The composer complained that most people were not concerned about whether the show was good, but whether it was better than South Pacific. Even the weather cooperated: heavy rain in New York stopped in time to allow the mostly wealthy or connected opening night audience to arrive dry at the St. James Theatre. Margaret Landon, author of the book on which the musical was based, was not invited to opening night.
Brynner turned in an outstanding performance that night, nearly stealing the show. Lawrence knew that the company was nervous because of her illnesses. The director, John van Druten, described how her opening night performance put all worries to rest: "She came on the stage with a new and dazzling quality, as if an extra power had been granted to the brilliance of her stage light. She was radiant and wonderful." The rave reviews in the newspapers lifted Lawrence's spirits, and she expected a lengthy run as Anna, first on Broadway, then in London's West End, and finally on film. Lawrence won a Tony Award for her leading role, while Brynner won the award for best featured actor. The show won the Tony for best musical, and designers Mielziner and Sharaff received awards in their categories.
De Lappe remembered the contrast between Lawrence's indifferent singing voice and the force of her performance:
Lawrence's death and aftermath
Lawrence had not yet discovered that she was nearing death from liver cancer, and her weakened condition was exacerbated by the demands of her role. At the age of 52, she was required to wear dresses weighing while walking or dancing a total of during a 3½ hour performance eight times a week. Lawrence found it hard to bear the heat in the theatre during the summer months. Her understudy, Constance Carpenter, began to replace her in matinees. Later in the year Lawrence's strength returned, and she resumed her full schedule, but by Christmas she was battling pleurisy and suffering from exhaustion. She entered the hospital for a full week of tests. Just nine months before her death, the cancer still was not detected. In February 1952, bronchitis felled her for another week, and her husband Richard Aldrich asked Rodgers and Hammerstein if they would consider closing the show for Easter week to give her a chance to recover fully. They denied his request, but agreed to replace her with the original Ado Annie from Oklahoma!, Celeste Holm, for six weeks during the summer. Meanwhile, Lawrence's performances were deteriorating, prompting audiences to become audibly restive. Rodgers and Hammerstein prepared a letter, never delivered, advising her that "eight times a week you are losing the respect of 1,500 people". On August 16, 1952, she fainted following a matinee performance and was admitted to the NewYork–Presbyterian Hospital. She slipped into a coma and died on September 6, 1952, at the age of 54. Her autopsy revealed liver cancer. On the day of her funeral, the performance of The King and I was cancelled. The lights of Broadway and the West End were dimmed because of her death, and she was buried in the ball gown she wore during Act 2.
Carpenter assumed the role of Anna and went on to play it for 620 performances. Other Annas during the run included Holm, Annamary Dickey and Patricia Morison. Although Brynner later boasted of never missing a show, he missed several, once when stagehands at the St. James Theatre accidentally struck him in the nose with a piece of scenery, another time due to appendicitis. Also, for three months in 1952 (and occasionally in 1953), Alfred Drake replaced Brynner. One young actor, Sal Mineo, began as an extra, then became an understudy for a younger prince, then an understudy and later a replacement for Crown Prince Chulalongkorn. Mineo began a close friendship and working relationship with Brynner which would last for more than a decade. Another replacement was Terry Saunders as Lady Thiang. She reprised the role in the 1956 film. The last of the production's 1,246 performances was on March 20, 1954. The run was, at the time, the fourth longest ever for a Broadway musical. A U.S. national tour began on March 22, 1954, at the Community Theatre, Hershey, Pennsylvania, starring Brynner and Morison. The tour played in 30 cities, closing on December 17, 1955, at the Shubert Theatre, Philadelphia.
The original London production opened on October 8, 1953, at the Theatre Royal, Drury Lane, and was warmly received by both audiences and critics; it ran for 946 performances. The show was restaged by Jerome Whyte. The cast featured Valerie Hobson, in her last role, as Anna; Herbert Lom as the King; and Muriel Smith as Lady Thiang. Martin Benson played the Kralahome, a role he reprised in the film. Eve Lister was a replacement for Hobson, and George Pastell replaced Lom during the long run. The New York Times theatre columnist Brooks Atkinson saw the production with Lister and Pastell, and thought the cast commonplace, except for Smith, whom he praised both for her acting and her voice. Atkinson commented, "The King and I is a beautifully written musical drama on a high plane of human thinking. It can survive in a mediocre performance."
The musical was soon premiered in Australia, Japan, and throughout Europe.
Early revivals
The first revival of The King and I in New York was presented by the New York City Center Light Opera Company in April and May 1956 for three weeks, starring Jan Clayton and Zachary Scott, directed by John Fearnley, with Robbins' choreography recreated by June Graham. Muriel Smith reprised her London role of Lady Thiang, and Patrick Adiarte repeated his film role, Chulalongkorn. This company presented the musical again in May 1960 with Barbara Cook and Farley Granger, again directed by Fearnley, in another three-week engagement. Atkinson admired the purity of Cook's voice and thought that she portrayed Anna with "a cool dignity that gives a little more stature to the part than it has had before." He noted that Granger brought "a fresh point of view – as well as a full head of hair". Joy Clements played Tuptim, and Anita Darian was Lady Thiang. City Center again presented the show in June 1963, starring Eileen Brennan and Manolo Fabregas, directed by Fearnley. Clements and Darian reprised Tuptim and Thiang respectively. In the final City Center Light Opera production, Michael Kermoyan played the King opposite Constance Towers for three weeks in May 1968. Darian again played Lady Thiang. For all of these 1960s productions, Robbins' choreography was reproduced by Yuriko, who had played the role of Eliza in the original Broadway production and reprised the role in the City Center productions.
The Music Theatre of Lincoln Center, with Rodgers as producer, presented the musical in mid-1964 at the New York State Theater, starring Risë Stevens and Darren McGavin, with Michael Kermoyan as the Kralahome. Lun Tha, Tuptim and Thiang were played by Frank Porretta, Lee Venora and Patricia Neway. Costumes were by Irene Sharaff, the designer for the original productions and the film adaptation. The director was Edward Greenberg, with the Robbins choreography again reproduced by Yuriko. This was Music Theatre's debut production, a five-week limited engagement.
The King and I was revived at London's Adelphi Theatre on October 10, 1973, running for 260 performances until May 25, 1974, starring Sally Ann Howes as Anna and Peter Wyngarde as the King. Roger Redfarn directed, and Sheila O'Neill choreographed. The production, which began in June 1973 with a tour of the English provinces, earned mixed to warm reviews. Michael Billington in The Guardian called the revival "well played and well sung". Although he was enthusiastic about Howes as Anna, Billington thought Wyngarde "too fragile to be capable of inspiring unholy terror". He praised Redfarn's production – "whipped along at a good pace and made a sumptuous eyeful out of the interpolated ballet on 'Uncle Tom's Cabin'." Less favorably, Robert Cushman in The Observer thought the production "scenically and economically under-nourished". He liked Wyngarde's King ("a dignified clown") but thought Howes not formidable enough to stand up to him as Anna. He noted that "she sings beautifully and the songs are the evening's real justification".
Brynner reprises the role
In early 1976, Brynner received an offer from impresarios Lee Gruber and Shelly Gross to star, in the role that he had created 25 years before, in a U.S. national tour and Broadway revival. The tour opened in Los Angeles on July 26, 1976, with Constance Towers reprising the role of Anna. On opening night, Brynner suffered so badly from laryngitis that he lip-synched, with his son Rock singing and speaking the role from the orchestra pit. The production traveled across the United States, selling out every city it appeared in and finally opening in New York at the Uris Theatre (today the Gershwin Theatre) on May 2, 1977. The production featured Martin Vidnovic as Lun Tha, and Susan Kikuchi danced the part of Eliza, recreating the role that her mother, Yuriko, had originated. Yuriko both directed the production and recreated the Robbins choreography. Sharaff again designed costumes, and Michael Kermoyan reprised the role of the Kralahome, while June Angela was Tuptim. The run lasted 696 performances, almost two years, during which each of the stars took off three weeks, with Angela Lansbury replacing Towers and Kermoyan replacing Brynner. The production was nominated for the Drama Desk Award for Outstanding Musical.
Brynner insisted on renovations to the Uris before he would play there, stating that the theatre resembled "a public toilet". He also insisted that dressing rooms on the tour and at the Uris be arranged to his satisfaction. According to his biographer Michelangelo Capua, for years afterwards, performers thanked Brynner for having backstage facilities across the country cleaned up. New York Times reviewer Clive Barnes said of the revival, "The cast is a good one. Mr. Brynner grinning fire and snorting charm is as near to the original as makes little difference" and called Towers "piquantly ladylike and sweet without being dangerously saccharine". However, fellow Times critic Mel Gussow warned, later in the run, that "to a certain extent [Brynner] was coasting on his charisma".
The tour was extended in 1979, after the New York run, still starring Brynner and Towers. The production then opened in the West End, at the London Palladium, on June 12, 1979, and was reported to have the largest advance sale in English history. Brynner stated, "It is not a play, it is a happening." Virginia McKenna starred in London as Anna, winning an Olivier Award for her performance. June Angela again played Tuptim, and John Bennett was the Kralahome. It ran until September 27, 1980.
Brynner took only a few months off after the London run ended, which contributed to his third divorce; he returned to the road in early 1981 in an extended U.S. tour of the same production, which eventually ended on Broadway. Mitch Leigh produced and directed, and Robbins' choreography was reproduced by Rebecca West, who also danced the role of Simon of Legree, which she had danced at the Uris in 1977. Patricia Marand played Anna, Michael Kermoyan was again the Kralahome, Patricia Welch was Tuptim. During 1981, Kate Hunter Brown took over as Anna, continuing in the role for at least a year and a half. By 1983, Mary Beth Peil was playing Anna. On September 13, 1983, in Los Angeles, Brynner celebrated his 4,000th performance as the King; on the same day he was privately diagnosed with inoperable lung cancer, and the tour had to shut down for a few months while he received painful radiation therapy to shrink the tumor. The Washington Post reviewer saw Brynner's "absolutely last farewell tour" in December 1984 and wrote of the star:
The production reached New York in January 1985, running for 191 performances at the Broadway Theatre, with Brynner, Peil, Welch and West still playing their roles. The part of Eliza was played by the leading man's fourth wife, Kathy Lee Brynner, and newcomer Jeffrey Bryan Davis played Louis. During the run, Brynner was unable to sing "A Puzzlement", due to what was announced as a throat and ear infection, but he "projected bursting vitality to the top of the balcony." He received a special Tony Award for his role as the King and had come to dominate the musical to such an extent that Peil was nominated merely for a featured actress Tony as Anna. Leigh was nominated for a Tony for his direction. New York Times critic Frank Rich praised Brynner but was ambivalent about the production, which he called "sluggish", writing that Brynner's "high points included his fond, paternalistic joshing with his brood in 'The March of the Siamese Children,' his dumb-show antics while attempting to force the English schoolteacher Anna to bow, and, of course, the death scene. ... The star aside, such showmanship is too often lacking in this King and I." The last performance was a special Sunday night show, on June 30, 1985, in honor of Brynner and his 4,625th performance of the role. Brynner died less than four months later, on October 10, 1985.
From August 1989 to March 1990, Rudolf Nureyev played the King in a North American tour opposite Liz Robertson, with Kermoyan as the Kralahome, directed by Arthur Storch and with the original Robbins choreography. Reviews were uniformly critical, lamenting that Nureyev failed to embody the character, "a King who stands around like a sulky teenager who didn't ask to be invited to this party. ... Not even his one dance number ... goes well. ... Rodgers and Hammerstein's King [is] supposed to be a compelling personality [but Nureyev's] bears no resemblance to the man described ... in the "Something Wonderful" number. The show therefore comes across as something of a charade ... with everyone pretending to be dealing with a fearsome potentate who, in fact, is displaying very little personality at all."
Renshaw's production: 1991 to 2003
The first major revival to break away from the original staging and interpretation was an Australian production directed by Christopher Renshaw, starring Hayley Mills as Anna, in 1991. Renshaw pointedly ignored the printed stage directions in the script when reshaping the piece into what he called "an authentic Thai experience". The production had a more sinister Siamese setting, a less elegant but more forceful Anna, and a younger King (Tony Marinyo). The attraction between Anna and the King was made explicit. Renshaw "cut a few lines and lyrics, and translated others into Thai to reinforce the atmosphere of a foreign land", and all Asian roles were played by Asian actors. He also asked choreographers Lar Lubovitch and Jerome Robbins to create a "spiritual" ballet, for the King's entrance in Act 1, and a procession with a sacred white elephant in Act II. According to Renshaw, "The reds and golds were very much inspired by what we saw at the royal palace", and set and costume elements reflected images, architecture and other designs in the palace and elsewhere in Bangkok. For example, the stage was framed by columns of elephant figures, a large emerald Buddha loomed over Act I, and hundreds of elephant images were woven into the set. Renshaw said, "The elephant is regarded as a very holy creature ... they believe the spirit of Buddha often resides in the form of the elephant."
Stanley Green, in his Encyclopedia of the Musical Theatre, viewed the central theme of The King and I as "the importance of mutual understanding between people of differing ethnic and cultural backgrounds", but Renshaw felt the musical suffered from 1950s attitudes when "Orientalism was used as an exoticism rather than a real understanding of the particular culture." He stated that his production was informed by authentic Thai cultural, aesthetic and religious ideas that he learned from visiting Thailand. A feature in Playbill commented that the production focused on the "clash of ideologies and cultures, of East versus West". Theatre arts professor Eileen Blumenthal, however, called the production "a King and I for the age of political correctness". While she acknowledged that the musical's treatment of Asian cultures had come to be viewed as insensitive over the decades since its premiere, she argued that Rodgers and Hammerstein's script was more sensitive than most orientalist literature of its day, in that "West learns from East as well as the other way around", and that, moreover, the musical's treatment of its Asian subject is fantastical, not intended to be realistic. She concluded that the show is a documentary of "who we've been" in the West, and that The King and I should not be suppressed, because it is "too good".
The production was reproduced on Broadway, opening on April 11, 1996, at the Neil Simon Theatre, starring Donna Murphy as Anna, who won a Tony Award for her performance, and Lou Diamond Phillips as the King, with Randall Duk Kim as the Kralahome, Jose Llana as Lun Tha, Joohee Choi as Tuptim and Taewon Yi Kim as Lady Thiang. Jenna Ushkowitz made her Broadway debut as one of the children. The production was nominated for eight Tony Awards, winning best revival and three others, with acting nominations for Phillips and Choi, who each won Theatre World Awards, and seven Drama Desk Awards, winning for Outstanding Revival of a Musical; Renshaw won for his direction. The production was praised for "lavish ... sumptuous" designs by Roger Kirk (costumes) and Brian Thomson (sets), who both won Tony and Drama Desk Awards for their work. Faith Prince played the role of Anna later in the run, followed by Marie Osmond. The revival ran on Broadway for 780 performances, and Kevin Gray replaced Phillips. The production then toured in the U.S., starring Mills and Victor Talmadge. Other Annas on this tour included Osmond, Sandy Duncan, Stefanie Powers and Maureen McGovern, who ended the tour in Chicago in June 1998.
The production opened on May 3, 2000, at the London Palladium, directed by Renshaw and choreographed by Lubovitch, and using the Kirk and Thomson designs. It reportedly took in £8 million in advance ticket sales. The cast included Elaine Paige as Anna and Jason Scott Lee as the King, with Sean Ghazi as Luan Tha and Ho Yi as the Kralahome. Lady Thiang was, again, played by Taewon Yi Kim, of whom The Observer wrote, "Her 'Something Wonderful' was just that." The show was nominated for an Olivier Award for outstanding musical. Later in the run, Lee was replaced as the King by Paul Nakauchi. The revival was generally well received. The Daily Mirror said: "The King and I waltzed back to the West End in triumph last night." The Daily Express observed, "Love it or loathe it, The King and I is an unstoppable smash." Variety, however, noted a lack of chemistry between the leads, commenting that "there’s something not entirely right in Siam when the greatest applause is reserved for Lady Thiang". Replacements included Josie Lawrence as Anna, Keo Woolford as the King and Saeed Jaffrey as the Kralahome. The show closed on January 5, 2002. It toured the UK in 2002 and 2003, with Stefanie Powers and then Marti Webb as Anna and Ronobir Lahiri as the King.
2004 to present
Another U.S. national tour began in mid-2004, directed by Baayork Lee (who appeared in the original production at age 5), with choreography by Susan Kikuchi, reproducing the Robbins original. Sandy Duncan again starred as Anna, while Martin Vidnovic played the King. He had played Lun Tha in the 1977 Broadway production and voiced the King in the 1999 animated film. Stefanie Powers took over for Duncan throughout 2005. Near the end of the tour in November 2005, Variety judged that Lee had successfully "harnessed the show's physical beauty and its intrinsic exotic flavor."
Jeremy Sams directed, and Kikuchi choreographed, a limited engagement of the musical in June 2009 at the Royal Albert Hall in London. It starred Maria Friedman and Daniel Dae Kim. A U.K. national tour starred Ramon Tikaram as the King and Josefina Gabrielle as Anna, directed by Paul Kerryson, with choreography by David Needham. It opened in December 2011 in Edinburgh and continued into May 2012.
In June 2014, Théâtre du Châtelet in Paris presented an English-language production of The King and I directed by Lee Blakeley and starring Susan Graham, who was "close to perfection as Anna", Lambert Wilson, "also excellent as the king", and Lisa Milne as Lady Thiang. The New York Times called it "a grand new staging that has set French critics searching for superlatives." The Renshaw production was revived again in April 2014 by Opera Australia for performances in Sydney, Melbourne and Brisbane, directed by Renshaw and featuring Lisa McCune and Teddy Tahu Rhodes. Some critics questioned anew the portrayal of the Siamese court as barbaric and asked why a show where "the laughs come from the Thai people mis-understanding British ... culture" should be selected for revival.
A fourth Broadway revival began previews on March 12 and opened on April 16, 2015 at the Vivian Beaumont Theater. The production was directed by Bartlett Sher and starred Kelli O'Hara as Anna and Ken Watanabe, as the King, in his American stage debut. It featured Ruthie Ann Miles as Lady Thiang, Paul Nakauchi as the Kralahome, Ashley Park as Tuptim, Conrad Ricamora as Lun Tha, Jake Lucas as Louis Leonowens, and Edward Baker-Duly as Sir Edward Ramsey. Choreography by Christopher Gattelli was based on the original Jerome Robbins dances. The designers included Michael Yeargan (sets), Catherine Zuber (costumes) and Donald Holder (lighting). Reviews were uniformly glowing, with Ben Brantley of The New York Times calling it a "resplendent production", praising the cast (especially O'Hara), direction, choreographer, designs and orchestra, and commenting that Sher "sheds a light [on the vintage material] that isn't harsh or misty but clarifying [and] balances epic sweep with intimate sensibility." The production was nominated for nine Tony Awards, winning four, including Best Revival of a Musical, Best Leading Actress (for O'Hara), Best Featured Actress (for Miles) and best costume design (for Zuber), and won the Drama Desk Award for Outstanding Revival. Replacements for the King included Jose Llana Hoon Lee and Daniel Dae Kim. Replacements for Anna included Marin Mazzie. The revival closed on June 26, 2016 after 538 performances. A U.S. national tour of the production began in November 2016. The cast included Laura Michelle Kelly as Anna, Llana as the King and Joan Almedilla as Lady Thiang. The production was reproduced at the London Palladium from June through September 2018. O'Hara and Watanabe reprised their roles, with Naoko Mori and Ruthie Ann Miles sharing the role of Lady Thiang, Na-Young Jeon as Tuptim, Dean John-Wilson as Lun Tha and Takao Osawa as the Kralahome. The production was nominated for 6 Laurence Olivier Awards, including Best Musical Revival. The production was filmed and shown in theatres in late 2018.
The King and I continues to be a popular choice for productions by community theatres, school and university groups, summer camps and regional theatre companies.
Adaptations
The musical was filmed in 1956 with Brynner re-creating his role opposite Deborah Kerr. The film was nominated for nine Academy Awards and won five, including Best Actor for Brynner, with Kerr nominated for Best Actress. Sharaff won for best costume design. The film was directed by Walter Lang (who was also nominated for an Oscar) and choreographed by Robbins. Marni Nixon dubbed the singing voice of Anna, and Rita Moreno played Tuptim. Saunders as Thiang, Adiarte as Chulalongkorn and Benson as the Kralahome reprised their stage roles, as did dancers Yuriko and de Lappe. Alan Mowbray appeared in the new role of the British Ambassador, while Sir Edward Ramsey (demoted to the Ambassador's aide) was played by Geoffrey Toone. The movie's script was faithful to the stage version, although it cut a few songs; reviews were enthusiastic. Thomas Hischak, in his The Rodgers and Hammerstein Encyclopedia, states: "It is generally agreed that the [movie] is the finest film adaptation of any R & H musical". Thai officials judged the film offensive to their monarchy and banned both film and musical in 1956.
A non-musical 1972 TV comedy series, starring Brynner, was broadcast in the U.S. by CBS but was cancelled in mid-season after 13 episodes. It followed the main storyline of the musical, focusing on the relationship between the title characters. Samantha Eggar played "Anna Owens", with Brian Tochi as Chulalongkorn, Keye Luke as the Kralahome, Eric Shea as Louis, Lisa Lu as Lady Thiang, and Rosalind Chao as Princess Serena. The first episode aired on September 17, 1972, and the last aired on December 31, 1972. Margaret Landon was unhappy with this series and charged the producers with "inaccurate and mutilated portrayals" of her literary property; she unsuccessfully sued for copyright infringement.
Jerome Robbins' Broadway was a Broadway revue, directed by Robbins, showcasing scenes from some of his most popular earlier works on Broadway. The show ran from February 1989 to September 1990 and won six Tony Awards, including best musical. It featured "Shall We Dance" and "The Small House of Uncle Thomas" ballet, with Kikuchi as Eliza. Yuriko was the choreographic "reconstruction assistant".
Rich Animation Studios, Morgan Creek Productions and Warner Bros. Pictures released a 1999 animated film adaptation of the musical. Except for using some of the songs and characters, the story is unrelated to the Rodgers and Hammerstein version. Geared towards children, the adaptation includes cuddly animals, including a dragon. Voices were provided by Miranda Richardson as Anna (speaking), Christiane Noll as Anna (singing), Martin Vidnovic as the King, Ian Richardson as the Kralahome and Adam Wylie as Louis. Hischak dislikes the film but praises the vocals, adding that one compensation of the film is hearing Barbra Streisand sing a medley of "I Have Dreamed", "We Kiss in a Shadow" and "Something Wonderful", which is borrowed from Streisand's 1985 The Broadway Album and played under the film's closing credits. He expressed surprise "that the Rodgers & Hammerstein Organization allowed it to be made" and noted that "children have enjoyed The King and I for five decades without relying on dancing dragons". Ted Chapin, president of that organization, has called the film his biggest mistake in granting permission for an adaptation.
Music and recordings
Musical treatment
In his music, Rodgers sought to give some of the music an Asian flavor. This is exhibited in the piercing major seconds that frame "A Puzzlement", the flute melody in "We Kiss in a Shadow", open fifths, the exotic 6/2 chords that shape "My Lord and Master", and in some of the incidental music. The music for "The Small House of Uncle Thomas" was for the most part written not by Rodgers, but by dance music arranger Trude Rittmann, though "Hello, Young Lovers" and a snatch of "A Puzzlement" are quoted within it.
Before Rodgers and Hammerstein began writing together, the AABA form for show tunes was standard, but many of the songs in The King and I vary from it. "I Have Dreamed" is an almost continuous repetition of variations on the same theme, until the ending, when it is capped by another melody. The first five notes (an eighth note triplet and two half notes) of "Getting to Know You" also carry the melody all the way through the refrain. According to Mordden, this refusal to accept conventional forms "is one reason why their frequently heard scores never lose their appeal. They attend to situation and they unveil character, but also, they surprise you."
According to Rodgers' biographer William Hyland, the score for The King and I is much more closely tied to the action than that of South Pacific, "which had its share of purely entertaining songs". For example, the opening song, "I Whistle a Happy Tune", establishes Anna's fear upon entering a strange land with her small son, but the merry melody also expresses her determination to keep a stiff upper lip. Hyland calls "Hello, Young Lovers" an archetypical Rodgers ballad: simple, with only two chords in the first eight bars, but moving in its directness.
Recordings
The original cast recording of The King and I was released by Decca Records in 1951. While John Kenrick admires it for the performances of the secondary couple, Larry Douglas and Doretta Morrow, and for the warmth of Lawrence's performance, he notes that "Shall We Dance" was abridged, and there are no children's voices – the chorus in "Getting to Know You" is made up of adults. In 2000, the recording was inducted into the Grammy Hall of Fame. Later in the same year Patrice Munsel and Robert Merrill made the first studio recording of selections from the musical. Hischak comments that in the 1953 London cast album, Valerie Hobson's vocals were no stronger than Lawrence's and that the highlight is Muriel Smith's "Something Wonderful" in a disc with too many cuts. He calls Anna's songs "well served" by Marni Nixon's singing in the 1956 film soundtrack and judges the recording as vocally satisfying; Kenrick describes it as a "mixed bag": he is pleased that it includes several songs cut from the film, and he praises Nixon's vocals, but he dislikes the supporting cast and suggests watching the movie instead for its visual splendor.
Kenrick prefers the 1964 Lincoln Center cast recording to the earlier ones, especially approving of the performances of Risë Stevens as Anna and Patricia Neway as Lady Thiang. The recording, for the first time, included the narrated ballet music for "The Small House of Uncle Thomas". Because a single LP limited a single-disc album to about fifty minutes, its inclusion required the absence of some of the other numbers. Kenrick finds the recording of the 1977 Broadway revival cast to be "[e]asily the most satisfying King & I on CD". He judges it to be Brynner's best performance, calling Towers "great" and Martin Vidnovic, June Angela and the rest of the supporting cast "fabulous", though lamenting the omission of the ballet. Hischak, in contrast, says that some might prefer Brynner in his earlier recordings, when he was "more vibrant". Kenrick enjoys the 1992 Angel studio recording mostly for the Anna of Julie Andrews, who he says is "pure magic" in a role she never performed on stage. Kenrick praises the performance of both stars on the 1996 Broadway revival recording, calling Lou Diamond Phillips "that rarity, a King who can stand free of Brynner's shadow". Hischak finds the soundtrack to the 1999 animated film with Christiane Noll as Anna and Martin Vidnovic as the King, as well as Barbra Streisand singing on one track, more enjoyable than the movie itself, but Kenrick writes that his sole use for that CD is as a coaster.
Critical reception
Opening night reviews of the musical were strongly positive. Richard Watts in the New York Post termed it "[a]nother triumph for the masters". Critic John Mason Brown stated, "They have done it again." The New York Times drama critic Brooks Atkinson wrote: "This time Messrs. Rodgers and Hammerstein are not breaking any fresh trails, but they are accomplished artists of song and words in the theater; and The King and I is a beautiful and lovable musical play." Barely less enthusiastic was John Lardner in The New Yorker, who wrote, "Even those of us who find [the Rodgers and Hammerstein musicals] a little too unremittingly wholesome are bound to take pleasure in the high spirits and technical skill that their authors, and producers, have put into them." Otis Guernsey wrote for the New York Herald Tribune, "Musicals and leading men will never be the same after last night ... Brynner set an example that will be hard to follow ... Probably the best show of the decade.
The balance of opinion among the critics of the original London production was generally favorable, with a few reservations. In The Observer, Ivor Brown predicted that the piece would "settle down for some years at Drury Lane." The anonymous critic of The Times compared the work to Gilbert and Sullivan: "Mr. Rodgers charmingly echoes Sullivan in the king's more topsy-turvy moments; and Mr. Hammerstein attends very skilfully to the lurking Gilbertian humour." Less favorably, in the Daily Express, John Barber called the work "this treacle-bin Mikado", and declared that only one of the cast, Muriel Smith, could really sing.
In 1963, New York Times reviewer Lewis Funke said of the musical, "Mr. Hammerstein put all of his big heart into the simple story of a British woman's adventures, heartaches, and triumphs. ... A man with a world-view, he seized the opportunity provided by [Landon's book] to underscore his thoughts on the common destiny of humanity." Fourteen years later, another Times reviewer, Clive Barnes, called the musical "unsophisticated and untroubled. Even its shadows are lightened with a laugh or a sweetly sentimental tear ... we can even be persuaded to take death as a happy ending".
The reworked 1996 Broadway production received mixed reviews. Vincent Canby of The New York Times disliked it: "This latest King and I might look like a million dollars as a regional production; on Broadway ... it's a disappointment. The score remains enchanting but, somewhere along the line, there has been a serious failure of the theatrical imagination." But Liz Smith enthused: "The King and I is perfect"; and the Houston Chronicle wrote, of the subsequent tour, "The King and I is the essence of musical theater, an occasion when drama, music, dance and decor combine to take the audience on an unforgettable journey." Critic Richard Christiansen in the Chicago Tribune observed, of a 1998 tour stop at the Auditorium Theatre: "Written in a more leisurely and innocent and less politically correct period, [The King and I] cannot escape the 1990s onus of its condescending attitude toward the pidgin English monarch and his people. And its story moves at a pace that's a mite too slow for this more hurried day and age." When the production reached London in 2000, however, it received uniformly positive reviews; the Financial Times called it "a handsome, spectacular, strongly performed introduction to one of the truly great musicals".
The 2015 Broadway revival initially received uniformly glowing reviews. Ben Brantley of The New York Times called it a "resplendent production" and commented:
Marilyn Stasio, in Variety, termed the production "sumptuous" and "absolutely stunning". She noted a "still pertinent theme: the dissonant dynamic when Western civilization tries to assert its values on ancient Eastern cultures." In USA Today, Elysa Gardner wrote of the grins and tears evoked by the production. "[W]atching these people from vastly different cultures carefully but joyfully reach for common ground ... can be almost unbearably moving. ... [Rodgers and Hammerstein's] textured humanity and appeals for tolerance, like their shimmering scores, only gain resonance as time passes." The production's attempts to achieve historical accuracy and explore the work's dark themes with a modern sensibility led some reviewers to conclude that it succeeds at converting the musical's orientalism into "a modern critique of racism and sexism". Other commentators, however, such as composer Mohammed Fairouz, argued that an attempt at sensitivity in production cannot compensate for "the inaccurate portrayal of the historic King Mongkut as a childlike tyrant and the infantilization of the entire Siamese population of the court", which demonstrate a racist subtext in the piece, even in 1951 when it was written. Benjamin Ivry opined that "the Rodgers and Hammerstein organization should shelve the [musical] as a humanitarian gesture toward Southeast Asian history and art".
Fifty years after its premiere, Rodgers biographer Meryle Secrest summed up the musical:
References
Bibliography
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Green, Stanley. "Encyclopedia of the Musical Theatre. Jefferson, N.C.: Da Capo Press, 1980. .
Hammerstein, Oscar Andrew. The Hammersteins: A Musical Theatre Family. New York: Black Dog & Leventhal Publishers, 2010. .
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Ma, Sheng-mei. "Rodgers and Hammerstein's 'Chopsticks' musicals". Literature/Film Quarterly, Vol. 31, Number 1 (2003), pp. 17–26.
Mordden, Ethan. Rodgers & Hammerstein. New York: Harry N. Abrams, Inc., 1992. .
Morgan, Susan. Bombay Anna: The Real Story and Remarkable Adventures of the King and I Governess, Berkeley, Cal.: University of California Press, 2008; .
Morley, Sheridan, Gertrude Lawrence. New York: McGraw-Hill, 1981. .
Nolan, Frederick. The Sound of Their Music: The Story of Rodgers and Hammerstein. Cambridge, Mass.: Applause Theatre and Cinema Books, 2002. .
Secrest, Meryle. Somewhere for Me: A Biography of Richard Rodgers. Cambridge, Mass.: Applause Theatre and Cinema Books, 2001. .
Further reading
Rodgers, Richard. Musical Stages: An Autobiography. Jefferson, N.C. Da Capo Press, 2002 reprint of 1975 edition. .
Ponti, Carla. The Musical Representation of Asian Characters in the Musicals of Richard Rodgers, University of California: San Diego, 2010.
External links
Performance at the 2015 Tony Awards
The King and I
1951 musicals
Broadway musicals
Buddhism in fiction
Drama Desk Award-winning musicals
Grammy Hall of Fame Award recipients
Monarchy in fiction
Musicals based on novels
Musicals by Rodgers and Hammerstein
Plays set in the 19th century
Polygamy in fiction
Thailand in fiction
Tony Award for Best Musical
West End musicals
Musicals inspired by real-life events
Cultural depictions of Anna Leonowens
Cultural depictions of Mongkut
Tony Award-winning musicals | false | [
"WHATS'ON is a professional scheduling software package for broadcasting and media companies, created by the Belgian company MEDIAGENIX. CEO of this company is Fabrice Macquignon (since 2020).\n\nHistory\nThe software was first created for the Vlaamse Televisie Maatschappij in 1992 as a scheduling system for linear TV.\n\nFeatures\nIn 1999 the system was extended to include radio scheduling. Version 20 of the package includes video on demand, video streaming, podcasting and theme channel support. WHATS'ON includes support for revenue share licence agreements and it introduces the first fully embedded workflow engine that will further optimize the data flow between Digital asset management systems, play-out suites and finance systems. It cannot be modified.\n\nMarket\nThe scheduling software is in use by public broadcasters such as Danish radio, beIN Sports, NRK, RTBF, TG4, Vlaamse Radio- en Televisieomroep, Netherlands Public Broadcasting as well as by private broadcasters, including TV 2 (Denmark), TVN (Poland) and a number of stations from the SBS Broadcasting Group.\n\nIn total more than 400 channels in more than 18 countries are managed by WHATS’ON.\n\nWideOrbit distributes WHATS'ON in the USA.\n\nExternal links\nMEDIAGENIX Homepage\nWideOrbit Homepage\n\nReferences\n\nBusiness software",
"Radge Weekend Starts Here is the fifteenth studio album by King Creosote, released in 2001.\n\nTrack listing\nLaid When I'm Lucky \nWith Hindsight Blues \nNo Daddy \nHandswashed \nCreos'medleyote:Kir(kc)aldy / Fun(Kc)Rap / Fol(Kc)Ough \nHigh Wire \nHeaven Come Down Tonight \nLife Of Lows \nFar From Saving Grace \nMantra-Rap \nWhats With The Frown? \nWere I Not So Tired Xhösa\n\n2001 albums\nKing Creosote albums"
]
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[
"The King and I",
"Historical background",
"whats the historical background of the king",
"Mongkut, King of Siam, was about 57 years old in 1861. He had lived half his life as a Buddhist monk,"
]
| C_a7100cea58f5442e87cf4742cef4a56f_1 | when did he become king | 2 | When did Mongkut become the king of Siam? | The King and I | Mongkut, King of Siam, was about 57 years old in 1861. He had lived half his life as a Buddhist monk, was an able scholar, and founded a new order of Buddhism and a temple in Bangkok (paid for by his half-brother, King Nangklao). Through his decades of devotion, Mongkut acquired an ascetic lifestyle and a firm grasp of Western languages. When Nangklao died in 1850, Mongkut became king. At that time, various European countries were striving for dominance, and American traders sought greater influence in Southeast Asia. He ultimately succeeded in keeping Siam an independent nation, partly by familiarizing his heirs and harem with Western ways. In 1861, Mongkut wrote to his Singapore agent, Tan Kim Ching, asking him to find a British lady to be governess to the royal children. At the time, the British community in Singapore was small, and the choice fell on a recent arrival there, Anna Leonowens (1831-1915), who was running a small nursery school in the colony. Leonowens was the Anglo-Indian daughter of an Indian Army soldier and the widow of Thomas Owens, a clerk and hotel keeper. She had arrived in Singapore two years previously, claiming to be the genteel widow of an officer and explaining her dark complexion by stating that she was Welsh by birth. Her deception was not detected until long after her death, and had still not come to light when The King and I was written. Upon receiving the King's invitation, Leonowens sent her daughter, Avis, to school in England, to give Avis the social advantage of a prestigious British education, and traveled to Bangkok with her five-year-old son, Louis. King Mongkut had sought a Briton to teach his children and wives after trying local missionaries, who used the opportunity to proselytize. Leonowens initially asked for $150 in Singapore currency per month. Her additional request, to live in or near the missionary community to ensure she was not deprived of Western company, aroused suspicion in Mongkut, who cautioned in a letter, "we need not have teacher of Christianity as they are abundant here". King Mongkut and Leonowens came to an agreement: $100 per month and a residence near the royal palace. At a time when most transport in Bangkok was by boat, Mongkut did not wish to have to arrange for the teacher to get to work every day. Leonowens and Louis temporarily lived as guests of Mongkut's prime minister, and after the first house offered was found to be unsuitable, the family moved into a brick residence (wooden structures decayed quickly in Bangkok's climate) within walking distance of the palace. In 1867, Leonowens took a six-month leave of absence to visit her daughter Avis in England, intending to deposit Louis at a school in Ireland and return to Siam with Avis. However, due to unexpected delays and opportunities for further travel, Leonowens was still abroad in late 1868, when Mongkut fell ill and died. Leonowens did not return to Siam, although she continued to correspond with her former pupil, the new king Chulalongkorn. CANNOTANSWER | When Nangklao died in 1850, Mongkut became king. | The King and I is the fifth musical by the team of Rodgers and Hammerstein. It is based on Margaret Landon's novel, Anna and the King of Siam (1944), which is in turn derived from the memoirs of Anna Leonowens, governess to the children of King Mongkut of Siam in the early 1860s. The musical's plot relates the experiences of Anna, a British schoolteacher who is hired as part of the King's drive to modernize his country. The relationship between the King and Anna is marked by conflict through much of the piece, as well as by a love to which neither can admit. The musical premiered on March 29, 1951, at Broadway's St. James Theatre. It ran for nearly three years, making it the fourth-longest-running Broadway musical in history at the time, and has had many tours and revivals.
In 1950, theatrical attorney Fanny Holtzmann was looking for a part for her client, veteran leading lady Gertrude Lawrence. Holtzmann realized that Landon's book would provide an ideal vehicle and contacted Rodgers and Hammerstein, who were initially reluctant but agreed to write the musical. The pair initially sought Rex Harrison to play the supporting part of the King, a role he had played in the 1946 film made from Landon's book, but he was unavailable. They settled on the young actor and television director Yul Brynner.
The musical was an immediate hit, winning Tony Awards for Best Musical, Best Actress (for Lawrence) and Best Featured Actor (for Brynner). Lawrence died unexpectedly of cancer a year and a half after the opening, and the role of Anna was played by several actresses during the remainder of the Broadway run of 1,246 performances. A hit London run and U.S. national tour followed, together with a 1956 film for which Brynner won an Academy Award, and the musical was recorded several times. In later revivals, Brynner came to dominate his role and the musical, starring in a four-year national tour culminating in a 1985 Broadway run shortly before his death.
Christopher Renshaw directed major revivals on Broadway (1996), winning the Tony Award for Best Revival, and in the West End (2000). A 2015 Broadway revival won another Tony for Best Revival. Both professional and amateur revivals of The King and I continue to be staged regularly throughout the English-speaking world.
Historical background
Mongkut, King of Siam, was about 57 years old in 1861. He had lived half his life as a Buddhist monk, was an able scholar, and founded a new order of Buddhism and a temple in Bangkok (paid for by his half-brother, King Nangklao). Through his decades of devotion, Mongkut acquired an ascetic lifestyle and a firm grasp of Western languages. When Nangklao died in 1850, Mongkut became king. At that time, various European countries were striving for dominance, and American traders sought greater influence in Southeast Asia. He ultimately succeeded in keeping Siam an independent nation, partly by familiarizing his heirs and harem with Western ways.
In 1861, Mongkut wrote to his Singapore agent, Tan Kim Ching, asking him to find a British lady to be governess to the royal children. At the time, the British community in Singapore was small, and the choice fell on a recent arrival there, Anna Leonowens (1831–1915), who was running a small nursery school in the colony. Leonowens was the Anglo-Indian daughter of an Indian Army soldier and the widow of Thomas Owens, a clerk and hotel keeper. She had arrived in Singapore two years previously, claiming to be the genteel widow of an officer and explaining her dark complexion by stating that she was Welsh by birth. Her deception was not detected until long after her death, and had still not come to light when The King and I was written.
Upon receiving the King's invitation, Leonowens sent her daughter, Avis, to school in England, to give Avis the social advantage of a prestigious British education, and traveled to Bangkok with her five-year-old son, Louis. King Mongkut had sought a Briton to teach his children and wives after trying local missionaries, who used the opportunity to proselytize. Leonowens initially asked for $150 in Singapore currency per month. Her additional request, to live in or near the missionary community to ensure she was not deprived of Western company, aroused suspicion in Mongkut, who cautioned in a letter, "we need not have teacher of Christianity as they are abundant here". King Mongkut and Leonowens came to an agreement: $100 per month and a residence near the royal palace. At a time when most transport in Bangkok was by boat, Mongkut did not wish to have to arrange for the teacher to get to work every day. Leonowens and Louis temporarily lived as guests of Mongkut's prime minister, and after the first house offered was found to be unsuitable, the family moved into a brick residence (wooden structures decayed quickly in Bangkok's climate) within walking distance of the palace.
In 1867, Leonowens took a six-month leave of absence to visit her daughter Avis in England, intending to deposit Louis at a school in Ireland and return to Siam with Avis. However, due to unexpected delays and opportunities for further travel, Leonowens was still abroad in late 1868, when Mongkut fell ill and died. Leonowens did not return to Siam, although she continued to correspond with her former pupil, the new king Chulalongkorn.
Creation
In 1950, British actress Gertrude Lawrence's business manager and attorney, Fanny Holtzmann, was looking for a new vehicle for her client when the 1944 Margaret Landon novel Anna and the King of Siam (a fictionalized version of Leonowens' experiences) was sent to her by Landon's agent. According to Rodgers biographer Meryle Secrest, Holtzmann was worried that Lawrence's career was fading. The 51-year-old actress had appeared only in plays, not in musicals, since Lady in the Dark closed in 1943. Holtzmann agreed that a musical based on Anna and the King of Siam would be ideal for her client, who purchased the rights to adapt the novel for the stage.
Holtzmann initially wanted Cole Porter to write the score, but he declined. She was going to approach Noël Coward next, but happened to meet Dorothy Hammerstein (Oscar's wife) in Manhattan. Holtzmann told Dorothy Hammerstein that she wanted Rodgers and Hammerstein to create a show for Lawrence, and asked her to see that her husband read a book that Holtzmann would send over. In fact, both Dorothy Rodgers and Dorothy Hammerstein had read the novel in 1944 and had urged their husbands to consider it as a possible subject for a musical. Dorothy Hammerstein had known Gertrude Lawrence since 1925, when they had both appeared in André Charlot's London Revue of 1924 on Broadway and on tour in North America.
Rodgers and Hammerstein had disliked Landon's novel as a basis for a musical when it was published, and their views still held. It consists of vignettes of life at the Siamese court, interspersed with descriptions of historical events unconnected with each other, except that the King creates most of the difficulties in the episodes, and Anna tries to resolve them. Rodgers and Hammerstein could see no coherent story from which a musical could be made until they saw the 1946 film adaptation, starring Irene Dunne and Rex Harrison, and how the screenplay united the episodes in the novel. Rodgers and Hammerstein were also concerned about writing a star vehicle. They had preferred to make stars rather than hire them, and engaging the legendary Gertrude Lawrence would be expensive. Lawrence's voice was also a worry: her limited vocal range was diminishing with the years, while her tendency to sing flat was increasing. Lawrence's temperament was another concern: though she could not sing like one, the star was known to be capable of diva-like behavior. In spite of this, they admired her acting – what Hammerstein called her "magic light", a compelling presence on stage – and agreed to write the show. For her part, Lawrence committed to remaining in the show until June 1, 1953, and waived the star's usual veto rights over cast and director, leaving control in the hands of the two authors.
Hammerstein found his "door in" to the play in Landon's account of a slave in Siam writing about Abraham Lincoln. This would eventually become the narrated dance, "The Small House of Uncle Thomas". Since a frank expression of romantic feelings between the King and Anna would be inappropriate in view of both parties' upbringing and prevailing social mores, Hammerstein wrote love scenes for a secondary couple, Tuptim, a junior wife of the King, and Lun Tha, a scholar. In the Landon work, the relationship is between Tuptim and a priest, and is not romantic. The musical's most radical change from the novel was to have the King die at the end of the musical. Also, since Lawrence was not primarily a singer, the secondary couple gave Rodgers a chance to write his usual "soaring" romantic melodies. In an interview for The New York Times, Hammerstein indicated that he wrote the first scene before leaving for London and the West End production of Carousel in mid-1950; he wrote a second scene while in the British capital.
The pair had to overcome the challenge of how to represent Thai speech and music. Rodgers, who had experimented with Asian music in his short-lived 1928 musical with Lorenz Hart titled Chee-chee, did not wish to use actual Thai music, which American audiences might not find accessible. Instead, he gave his music an exotic flavor, using open fifths and chords in unusual keys, in ways pleasant to Western ears. Hammerstein faced the problem of how to represent Thai speech; he and Rodgers chose to convey it by musical sounds, made by the orchestra. For the King's style of speech, Hammerstein developed an abrupt, emphatic way of talking, which was mostly free of articles, as are many East Asian languages. The forceful style reflected the King's personality and was maintained even when he sang, especially in his one solo, "A Puzzlement". Many of the King's lines, including his first utterance, "Who? Who? Who?", and much of the initial scene between him and Anna, are drawn from Landon's version. Nevertheless, the King is presented more sympathetically in the musical than in the novel or the 1946 film, as the musical omits the torture and burning at the stake of Lady Tuptim and her partner.
With Rodgers laid up with back trouble, Hammerstein completed most of the musical's book before many songs were set to music. Early on, Hammerstein contacted set designer Jo Mielziner and costume designer Irene Sharaff and asked them to begin work in coordination with each other. Sharaff communicated with Jim Thompson, an American who had revived the Thai silk industry after World War II. Thompson sent Sharaff samples of silk cloth from Thailand and pictures of local dress from the mid-19th century. One such picture, of a Thai woman in western dress, inspired the song "Western People Funny", sung by the King's chief wife, Lady Thiang, while dressed in western garb.
Producer Leland Hayward, who had worked with the duo on South Pacific, approached Jerome Robbins to choreograph a ballet for "The Small House of Uncle Thomas". Robbins was very enthusiastic about the project and asked to choreograph the other musical numbers as well, although Rodgers and Hammerstein had originally planned little other dancing. Robbins staged "The Small House of Uncle Thomas" as an intimate performance, rather than a large production number. His choreography for the parade of the King's children to meet their teacher ("March of the Royal Siamese Children") drew great acclaim. Robert Russell Bennett provided the orchestrations, and Trude Rittmann arranged the ballet music.
The pair discussed having an Act 1 musical scene involving Anna and the King's wives. The lyrics for that scene proved to be very difficult for Hammerstein to write. He first thought that Anna would simply tell the wives something about her past, and wrote such lyrics as "I was dazzled by the splendor/Of Calcutta and Bombay" and "The celebrities were many/And the parties very gay/(I recall a curry dinner/And a certain Major Grey)." Eventually, Hammerstein decided to write about how Anna felt, a song which would not only explain her past and her motivation for traveling with her son to the court of Siam, but also serve to establish a bond with Tuptim and lay the groundwork for the conflict that devastates Anna's relationship with the King. "Hello, Young Lovers", the resulting song, was the work of five exhausting weeks for Hammerstein. He finally sent the lyrics to Rodgers by messenger and awaited his reaction. Hammerstein considered the song his best work and was anxious to hear what Rodgers thought of it, but no comment came from Rodgers. Pride kept Hammerstein from asking. Finally, after four days, the two happened to be talking on the phone about other matters, and at the end of the conversation, Rodgers stated, very briefly, that the lyric was fine. Josh Logan, who had worked closely with Hammerstein on South Pacific, listened to the usually unflappable writer pour out his unhappy feelings. It was one of the few times that Hammerstein and Rodgers did not display a united front.
Casting and auditions
Although the part of the King was only a supporting role to Lawrence's Anna, Hammerstein and Rodgers thought it essential that a well-known theatrical actor play it. The obvious choice was Rex Harrison, who had played the King in the movie, but he was booked, as was Noël Coward. Alfred Drake, the original Curly in Oklahoma!, made contractual demands which were deemed too high. With time running short before rehearsals, finding an actor to play the King became a major concern. Mary Martin, the original Nellie Forbush in South Pacific, suggested that her co-star in a 1946 musical set in China, Lute Song, try for the role. Rodgers recounted the audition of the Russian-American performer, Yul Brynner:
Brynner termed Rodgers' account "very picturesque, but totally inaccurate". He recalled that as an established television director (in CBS's Starlight Theatre, for example), he was reluctant to go back on the stage. His wife, his agent and Martin finally convinced him to read Hammerstein's working script, and once he did, he was fascinated by the character of the King and was eager to do the project. In any case, Brynner's fierce, mercurial, dangerous, yet surprisingly sensitive King was an ideal foil for Lawrence's strong-willed, yet vulnerable Anna, and when the two finally came together in "Shall We Dance?", where the King hesitantly touches Anna's waist, the chemistry was palpable.
Pre-rehearsal preparations began in late 1950. Hammerstein had wanted Logan to direct and co-write the book, as he had for South Pacific, but when Logan declined, Hammerstein decided to write the entire book himself. Instead of Logan, the duo hired as director John van Druten, who had worked with Lawrence years earlier. The costume designer, Sharaff, wryly pointed the press to the incongruity of a Victorian British governess in the midst of an exotic court: "The first-act finale of The King and I will feature Miss Lawrence, Mr. Brynner, and a pink satin ball gown." Mielziner's set plan was the simplest of the four Rodgers and Hammerstein musicals he had worked on, with one main set (the throne room), a number of front-stage drops (for the ship and Anna's room, for example) and the entire stage cleared for "The Small House of Uncle Thomas".
The show was budgeted at $250,000 (US$ in dollars) making it the most expensive Rodgers and Hammerstein production to that point, and prompting some mockery that costs exceeded even their expensive flop Allegro. Investors included Hammerstein, Rodgers, Logan, Martin, Billy Rose and Hayward. The children who were cast as the young princes and princesses came from a wide range of ethnic backgrounds, including Puerto Rican or Italian, though none were Thai. Johnny Stewart was the original Prince Chulalongkorn but left the cast after only three months, replaced by Ronnie Lee. Sandy Kennedy was Louis, and Broadway veteran Larry Douglas played Lun Tha.
Shortly before rehearsals began in January 1951, Rodgers had the first Tuptim, Doretta Morrow, sing the entire score to Lawrence, including Lawrence's own songs. Lawrence listened calmly, but when she met Rodgers and Hammerstein the following day, she treated Rodgers coldly, apparently seeing the composer's actions as flaunting her vocal deficiencies. Hammerstein and Rodgers' doubts about whether Lawrence could handle the part were assuaged by the sheer force of her acting. James Poling, a writer for Collier's who was allowed to attend the rehearsals, wrote of Lawrence preparing "Shall I Tell You What I Think of You?":
At his first meeting with Sharaff, Brynner, who had only a fringe of hair, asked what he was to do about it. When told he was to shave it, Brynner was horror-struck and refused, convinced he would look terrible. He finally gave in during tryouts and put dark makeup on his shaved head. The effect was so well-received that it became Brynner's trademark.
Lawrence's health caused her to miss several rehearsals, though no one knew what was wrong with her. When the tryout opened in New Haven, Connecticut on February 27, 1951, the show was nearly four hours long. Lawrence, suffering from laryngitis, had missed the dress rehearsal but managed to make it through the first public performance. The Variety critic noted that despite her recent illness she "slinks, acts, cavorts, and in general exhibits exceedingly well her several facets for entertaining", but the Philadelphia Bulletin printed that her "already thin voice is now starting to wear a great deal thinner". Leland Hayward came to see the show in New Haven and shocked Rodgers by advising him to close it before it went any further. Additionally, when the show left New Haven for Boston for more tryout performances, it was still at least 45 minutes too long. Gemze de Lappe, who was one of the dancers, recalled one cut that she regretted:
This song, "Waiting", was a trio for Anna, the King, and the Kralahome (the King's prime minister). "Who Would Refuse?", the Kralahome's only solo, was also dropped. Left without a note to sing, Mervyn Vye abandoned the show and was replaced by John Juliano. "Now You Leave", a song for Lady Thiang (played by Dorothy Sarnoff in the original production), was also cut. After the cuts, Rodgers and Hammerstein felt that the first act was lacking something. Lawrence suggested that they write a song for Anna and the children. Mary Martin reminded them of a song that had been cut from South Pacific, "Suddenly Lucky". Hammerstein wrote a new lyric for the melody, and the resulting song became "Getting to Know You". "Western People Funny" and "I Have Dreamed" were also added in Boston.
Brynner regretted that there were not more tryout performances, feeling that the schedule did not give him an adequate opportunity to develop the complex role of the King. When he told this to Hammerstein and Rodgers, they asked what sort of performance they would get from him, and he responded, "It will be good enough, it will get the reviews."
Plot
Act 1
In 1862, a strong-willed, widowed schoolteacher, Anna Leonowens, arrives in Bangkok, Siam (later known as Thailand) at the request of the King of Siam to tutor his many children. Anna's young son, Louis, fears the severe countenance of the King's prime minister, the Kralahome, but Anna refuses to be intimidated ("I Whistle a Happy Tune"). The Kralahome has come to escort them to the palace, where they are expected to live – a violation of Anna's contract, which calls for them to live in a separate house. She considers returning to Singapore aboard the vessel that brought them, but goes with her son and the Kralahome.
Several weeks pass, during which Anna and Louis are confined to their palace rooms. The King receives a gift from the king of Burma, a lovely slave girl named Tuptim, to be one of his many wives. She is escorted by Lun Tha, a scholar who has come to copy a design for a temple, and the two are secretly in love. Tuptim, left alone, declares that the King may own her, but not her heart ("My Lord and Master"). The King gives Anna her first audience. The schoolteacher is a part of his plan for the modernization of Siam; he is impressed when she already knows this. She raises the issue of her house with him, he dismisses her protests and orders her to talk with his wives. They are interested in her, and she tells them of her late husband, Tom ("Hello, Young Lovers"). The King presents her new pupils; Anna is to teach those of his children whose mothers are in favor with him – several dozen – and is to teach their mothers as well. The princes and princesses enter in procession ("March of the Royal Siamese Children"). Anna is charmed by the children, and formality breaks down after the ceremony as they crowd around her.
Anna has not given up on the house, and teaches the children proverbs and songs extolling the virtues of home life, to the King's irritation. The King has enough worries without battling the schoolteacher, and wonders why the world has become so complicated ("A Puzzlement"). The children and wives are hard at work learning English ("The Royal Bangkok Academy"). The children are surprised by a map showing how small Siam is compared with the rest of the world ("Getting to Know You"). As the crown prince, Chulalongkorn, disputes the map, the King enters a chaotic schoolroom. He orders the pupils to believe the teacher but complains to Anna about her lessons about "home". Anna stands her ground and insists on the letter of her contract, threatening to leave Siam, much to the dismay of wives and children. The King orders her to obey as "my servant"; she repudiates the term and hurries away. The King dismisses school, then leaves, uncertain of his next action. Meanwhile, Lun Tha comes upon Tuptim, and they muse about having to hide their relationship ("We Kiss in a Shadow").
In her room, Anna replays the confrontation in her mind, her anger building ("Shall I Tell You What I Think of You?"). Lady Thiang, the King's head wife, tells Anna that the King is troubled by his portrayal in the West as a barbarian, as the British are being urged to take over Siam as a protectorate. Anna is shocked by the accusations – the King is a polygamist, but he is no barbarian – but she is reluctant to see him after their argument. Lady Thiang convinces her that the King is deserving of support ("Something Wonderful"). Anna goes to him and finds him anxious for reconciliation. The King tells her that the British are sending an envoy to Bangkok to evaluate the situation. Anna "guesses" – the only guise in which the King will accept advice – that the King will receive the envoy in European style, and that the wives will be dressed in Western fashion. Tuptim has been writing a play based on a book that Anna has lent her, Uncle Tom's Cabin, that can be presented to the guests. News is brought to the King that the British are arriving much earlier than thought, and so Anna and the wives are to stay up all night to prepare. The King assembles his family for a Buddhist prayer for the success of the venture and also promises before Buddha that Anna will receive her own house "as provided in agreement, etc., etc."
Act 2
The wives are dressed in their new European-style gowns, which they find confining ("Western People Funny"). In the rush to prepare, the question of undergarments has been overlooked, and the wives have practically nothing on underneath their gowns. When the British envoy, Sir Edward Ramsay, arrives and gazes at them through a monocle, they are panicked by the "evil eye" and lift their skirts over their heads as they flee. Sir Edward is diplomatic about the incident. When the King is called away, it emerges that Sir Edward is an old flame of Anna's, and they dance in remembrance of old times, as Edward urges her to return to British society. The King returns and irritably reminds them that dancing is for after dinner.
As final preparations for the play are made, Tuptim steals a moment to meet with Lun Tha. He tells her he has an escape plan, and she should be ready to leave after the performance ("I Have Dreamed"). Anna encounters them, and they confide in her ("Hello, Young Lovers", reprise). The play ("Small House of Uncle Thomas", narrated ballet) is presented in a Siamese ballet-inspired dance. Tuptim is the narrator, and she tells her audience of the evil King Simon of Legree and his pursuit of the runaway slave Eliza. Eliza is saved by Buddha, who miraculously freezes a river and conceals her in snow. Buddha then causes the river to melt, drowning King Simon and his hunting party. The anti-slavery message is blunt.
After the play, Sir Edward reveals that the British threat has receded, but the King is distracted by his displeasure at Tuptim's rebellious message. After Sir Edward leaves, Anna and the King express their delight at how well the evening went, and he presents her with a ring. Secret police report that Tuptim is missing. The King realizes that Anna knows something; she parries his inquiry by asking why he should care: Tuptim is just another woman to him. He is delighted; she is at last understanding the Siamese perspective. Anna tries to explain to him the Western customs of courtship and tells him what it is like for a young woman at a formal dance ("Shall We Dance?"). He demands that she teach him the dance. She does, and in that dance they experience and express a love for each other that they can never speak aloud. They are interrupted by the Kralahome. Tuptim has been captured, and a search is on for Lun Tha. The King resolves to punish Tuptim, though she denies she and Lun Tha were lovers. Anna tries to dissuade him, but he is determined that her influence shall not rule, and he takes the whip himself. He turns to lash Tuptim, but under Anna's gaze is unable to swing the whip, and hurries away. Lun Tha is found dead, and Tuptim is dragged off, swearing to kill herself; nothing more is heard about her. Anna asks the Kralahome to give her ring back to the King; both schoolteacher and minister state their wish that she had never come to Siam.
Several months pass with no contact between Anna and the King. Anna is packed and ready to board a ship leaving Siam. Chulalongkorn arrives with a letter from the King, who has been unable to resolve the conflicts within himself and is dying. Anna hurries to the King's bedside and they reconcile. The King persuades her to take back the ring and to stay and assist the next king, Chulalongkorn. The dying man tells Anna to take dictation from the prince, and instructs the boy to give orders as if he were King. The prince orders the end of the custom of kowtowing that Anna hated. The King grudgingly accepts this decision. As Chulalongkorn continues, prescribing a less arduous bow to show respect for the king, his father dies. Anna kneels by the late King, holding his hand and kissing it, as the wives and children bow or curtsey, a gesture of respect to old king and new.
Principal roles and notable performers
Musical numbers
Act I
Overture – Orchestra
"I Whistle a Happy Tune" – Anna and Louis
"My Lord and Master" – Tuptim
"Hello, Young Lovers" – Anna
"March of the Royal Siamese Children" – Orchestra
"A Puzzlement" – King
"The Royal Bangkok Academy" – Anna, Wives and Children
"Getting to Know You" – Anna, Wives and Children
"We Kiss in a Shadow" – Tuptim and Lun Tha
"A Puzzlement" (reprise) – Louis and Prince Chulalongkorn
"Shall I Tell You What I Think of You?" – Anna
"Something Wonderful" – Lady Thiang
"Buddhist Prayer"/Act I finale – King and Company
Act II
Entr'acte – Orchestra
"Western People Funny" – Lady Thiang and Wives
"I Have Dreamed" – Tuptim and Lun Tha
"Hello, Young Lovers" (reprise) – Anna
"The Small House of Uncle Thomas" (Ballet) – Tuptim and Wives
"Song of the King" – King and Anna
"Shall We Dance?" – Anna and the King
"I Whistle a Happy Tune" (reprise) – Anna
"Something Wonderful" (reprise, finale ultimo) – Orchestra
Productions
Original productions
The King and I opened on Broadway on March 29, 1951, with a wide expectation of a hit by the press and public. Both Hammerstein and Rodgers professed to be worried. The composer complained that most people were not concerned about whether the show was good, but whether it was better than South Pacific. Even the weather cooperated: heavy rain in New York stopped in time to allow the mostly wealthy or connected opening night audience to arrive dry at the St. James Theatre. Margaret Landon, author of the book on which the musical was based, was not invited to opening night.
Brynner turned in an outstanding performance that night, nearly stealing the show. Lawrence knew that the company was nervous because of her illnesses. The director, John van Druten, described how her opening night performance put all worries to rest: "She came on the stage with a new and dazzling quality, as if an extra power had been granted to the brilliance of her stage light. She was radiant and wonderful." The rave reviews in the newspapers lifted Lawrence's spirits, and she expected a lengthy run as Anna, first on Broadway, then in London's West End, and finally on film. Lawrence won a Tony Award for her leading role, while Brynner won the award for best featured actor. The show won the Tony for best musical, and designers Mielziner and Sharaff received awards in their categories.
De Lappe remembered the contrast between Lawrence's indifferent singing voice and the force of her performance:
Lawrence's death and aftermath
Lawrence had not yet discovered that she was nearing death from liver cancer, and her weakened condition was exacerbated by the demands of her role. At the age of 52, she was required to wear dresses weighing while walking or dancing a total of during a 3½ hour performance eight times a week. Lawrence found it hard to bear the heat in the theatre during the summer months. Her understudy, Constance Carpenter, began to replace her in matinees. Later in the year Lawrence's strength returned, and she resumed her full schedule, but by Christmas she was battling pleurisy and suffering from exhaustion. She entered the hospital for a full week of tests. Just nine months before her death, the cancer still was not detected. In February 1952, bronchitis felled her for another week, and her husband Richard Aldrich asked Rodgers and Hammerstein if they would consider closing the show for Easter week to give her a chance to recover fully. They denied his request, but agreed to replace her with the original Ado Annie from Oklahoma!, Celeste Holm, for six weeks during the summer. Meanwhile, Lawrence's performances were deteriorating, prompting audiences to become audibly restive. Rodgers and Hammerstein prepared a letter, never delivered, advising her that "eight times a week you are losing the respect of 1,500 people". On August 16, 1952, she fainted following a matinee performance and was admitted to the NewYork–Presbyterian Hospital. She slipped into a coma and died on September 6, 1952, at the age of 54. Her autopsy revealed liver cancer. On the day of her funeral, the performance of The King and I was cancelled. The lights of Broadway and the West End were dimmed because of her death, and she was buried in the ball gown she wore during Act 2.
Carpenter assumed the role of Anna and went on to play it for 620 performances. Other Annas during the run included Holm, Annamary Dickey and Patricia Morison. Although Brynner later boasted of never missing a show, he missed several, once when stagehands at the St. James Theatre accidentally struck him in the nose with a piece of scenery, another time due to appendicitis. Also, for three months in 1952 (and occasionally in 1953), Alfred Drake replaced Brynner. One young actor, Sal Mineo, began as an extra, then became an understudy for a younger prince, then an understudy and later a replacement for Crown Prince Chulalongkorn. Mineo began a close friendship and working relationship with Brynner which would last for more than a decade. Another replacement was Terry Saunders as Lady Thiang. She reprised the role in the 1956 film. The last of the production's 1,246 performances was on March 20, 1954. The run was, at the time, the fourth longest ever for a Broadway musical. A U.S. national tour began on March 22, 1954, at the Community Theatre, Hershey, Pennsylvania, starring Brynner and Morison. The tour played in 30 cities, closing on December 17, 1955, at the Shubert Theatre, Philadelphia.
The original London production opened on October 8, 1953, at the Theatre Royal, Drury Lane, and was warmly received by both audiences and critics; it ran for 946 performances. The show was restaged by Jerome Whyte. The cast featured Valerie Hobson, in her last role, as Anna; Herbert Lom as the King; and Muriel Smith as Lady Thiang. Martin Benson played the Kralahome, a role he reprised in the film. Eve Lister was a replacement for Hobson, and George Pastell replaced Lom during the long run. The New York Times theatre columnist Brooks Atkinson saw the production with Lister and Pastell, and thought the cast commonplace, except for Smith, whom he praised both for her acting and her voice. Atkinson commented, "The King and I is a beautifully written musical drama on a high plane of human thinking. It can survive in a mediocre performance."
The musical was soon premiered in Australia, Japan, and throughout Europe.
Early revivals
The first revival of The King and I in New York was presented by the New York City Center Light Opera Company in April and May 1956 for three weeks, starring Jan Clayton and Zachary Scott, directed by John Fearnley, with Robbins' choreography recreated by June Graham. Muriel Smith reprised her London role of Lady Thiang, and Patrick Adiarte repeated his film role, Chulalongkorn. This company presented the musical again in May 1960 with Barbara Cook and Farley Granger, again directed by Fearnley, in another three-week engagement. Atkinson admired the purity of Cook's voice and thought that she portrayed Anna with "a cool dignity that gives a little more stature to the part than it has had before." He noted that Granger brought "a fresh point of view – as well as a full head of hair". Joy Clements played Tuptim, and Anita Darian was Lady Thiang. City Center again presented the show in June 1963, starring Eileen Brennan and Manolo Fabregas, directed by Fearnley. Clements and Darian reprised Tuptim and Thiang respectively. In the final City Center Light Opera production, Michael Kermoyan played the King opposite Constance Towers for three weeks in May 1968. Darian again played Lady Thiang. For all of these 1960s productions, Robbins' choreography was reproduced by Yuriko, who had played the role of Eliza in the original Broadway production and reprised the role in the City Center productions.
The Music Theatre of Lincoln Center, with Rodgers as producer, presented the musical in mid-1964 at the New York State Theater, starring Risë Stevens and Darren McGavin, with Michael Kermoyan as the Kralahome. Lun Tha, Tuptim and Thiang were played by Frank Porretta, Lee Venora and Patricia Neway. Costumes were by Irene Sharaff, the designer for the original productions and the film adaptation. The director was Edward Greenberg, with the Robbins choreography again reproduced by Yuriko. This was Music Theatre's debut production, a five-week limited engagement.
The King and I was revived at London's Adelphi Theatre on October 10, 1973, running for 260 performances until May 25, 1974, starring Sally Ann Howes as Anna and Peter Wyngarde as the King. Roger Redfarn directed, and Sheila O'Neill choreographed. The production, which began in June 1973 with a tour of the English provinces, earned mixed to warm reviews. Michael Billington in The Guardian called the revival "well played and well sung". Although he was enthusiastic about Howes as Anna, Billington thought Wyngarde "too fragile to be capable of inspiring unholy terror". He praised Redfarn's production – "whipped along at a good pace and made a sumptuous eyeful out of the interpolated ballet on 'Uncle Tom's Cabin'." Less favorably, Robert Cushman in The Observer thought the production "scenically and economically under-nourished". He liked Wyngarde's King ("a dignified clown") but thought Howes not formidable enough to stand up to him as Anna. He noted that "she sings beautifully and the songs are the evening's real justification".
Brynner reprises the role
In early 1976, Brynner received an offer from impresarios Lee Gruber and Shelly Gross to star, in the role that he had created 25 years before, in a U.S. national tour and Broadway revival. The tour opened in Los Angeles on July 26, 1976, with Constance Towers reprising the role of Anna. On opening night, Brynner suffered so badly from laryngitis that he lip-synched, with his son Rock singing and speaking the role from the orchestra pit. The production traveled across the United States, selling out every city it appeared in and finally opening in New York at the Uris Theatre (today the Gershwin Theatre) on May 2, 1977. The production featured Martin Vidnovic as Lun Tha, and Susan Kikuchi danced the part of Eliza, recreating the role that her mother, Yuriko, had originated. Yuriko both directed the production and recreated the Robbins choreography. Sharaff again designed costumes, and Michael Kermoyan reprised the role of the Kralahome, while June Angela was Tuptim. The run lasted 696 performances, almost two years, during which each of the stars took off three weeks, with Angela Lansbury replacing Towers and Kermoyan replacing Brynner. The production was nominated for the Drama Desk Award for Outstanding Musical.
Brynner insisted on renovations to the Uris before he would play there, stating that the theatre resembled "a public toilet". He also insisted that dressing rooms on the tour and at the Uris be arranged to his satisfaction. According to his biographer Michelangelo Capua, for years afterwards, performers thanked Brynner for having backstage facilities across the country cleaned up. New York Times reviewer Clive Barnes said of the revival, "The cast is a good one. Mr. Brynner grinning fire and snorting charm is as near to the original as makes little difference" and called Towers "piquantly ladylike and sweet without being dangerously saccharine". However, fellow Times critic Mel Gussow warned, later in the run, that "to a certain extent [Brynner] was coasting on his charisma".
The tour was extended in 1979, after the New York run, still starring Brynner and Towers. The production then opened in the West End, at the London Palladium, on June 12, 1979, and was reported to have the largest advance sale in English history. Brynner stated, "It is not a play, it is a happening." Virginia McKenna starred in London as Anna, winning an Olivier Award for her performance. June Angela again played Tuptim, and John Bennett was the Kralahome. It ran until September 27, 1980.
Brynner took only a few months off after the London run ended, which contributed to his third divorce; he returned to the road in early 1981 in an extended U.S. tour of the same production, which eventually ended on Broadway. Mitch Leigh produced and directed, and Robbins' choreography was reproduced by Rebecca West, who also danced the role of Simon of Legree, which she had danced at the Uris in 1977. Patricia Marand played Anna, Michael Kermoyan was again the Kralahome, Patricia Welch was Tuptim. During 1981, Kate Hunter Brown took over as Anna, continuing in the role for at least a year and a half. By 1983, Mary Beth Peil was playing Anna. On September 13, 1983, in Los Angeles, Brynner celebrated his 4,000th performance as the King; on the same day he was privately diagnosed with inoperable lung cancer, and the tour had to shut down for a few months while he received painful radiation therapy to shrink the tumor. The Washington Post reviewer saw Brynner's "absolutely last farewell tour" in December 1984 and wrote of the star:
The production reached New York in January 1985, running for 191 performances at the Broadway Theatre, with Brynner, Peil, Welch and West still playing their roles. The part of Eliza was played by the leading man's fourth wife, Kathy Lee Brynner, and newcomer Jeffrey Bryan Davis played Louis. During the run, Brynner was unable to sing "A Puzzlement", due to what was announced as a throat and ear infection, but he "projected bursting vitality to the top of the balcony." He received a special Tony Award for his role as the King and had come to dominate the musical to such an extent that Peil was nominated merely for a featured actress Tony as Anna. Leigh was nominated for a Tony for his direction. New York Times critic Frank Rich praised Brynner but was ambivalent about the production, which he called "sluggish", writing that Brynner's "high points included his fond, paternalistic joshing with his brood in 'The March of the Siamese Children,' his dumb-show antics while attempting to force the English schoolteacher Anna to bow, and, of course, the death scene. ... The star aside, such showmanship is too often lacking in this King and I." The last performance was a special Sunday night show, on June 30, 1985, in honor of Brynner and his 4,625th performance of the role. Brynner died less than four months later, on October 10, 1985.
From August 1989 to March 1990, Rudolf Nureyev played the King in a North American tour opposite Liz Robertson, with Kermoyan as the Kralahome, directed by Arthur Storch and with the original Robbins choreography. Reviews were uniformly critical, lamenting that Nureyev failed to embody the character, "a King who stands around like a sulky teenager who didn't ask to be invited to this party. ... Not even his one dance number ... goes well. ... Rodgers and Hammerstein's King [is] supposed to be a compelling personality [but Nureyev's] bears no resemblance to the man described ... in the "Something Wonderful" number. The show therefore comes across as something of a charade ... with everyone pretending to be dealing with a fearsome potentate who, in fact, is displaying very little personality at all."
Renshaw's production: 1991 to 2003
The first major revival to break away from the original staging and interpretation was an Australian production directed by Christopher Renshaw, starring Hayley Mills as Anna, in 1991. Renshaw pointedly ignored the printed stage directions in the script when reshaping the piece into what he called "an authentic Thai experience". The production had a more sinister Siamese setting, a less elegant but more forceful Anna, and a younger King (Tony Marinyo). The attraction between Anna and the King was made explicit. Renshaw "cut a few lines and lyrics, and translated others into Thai to reinforce the atmosphere of a foreign land", and all Asian roles were played by Asian actors. He also asked choreographers Lar Lubovitch and Jerome Robbins to create a "spiritual" ballet, for the King's entrance in Act 1, and a procession with a sacred white elephant in Act II. According to Renshaw, "The reds and golds were very much inspired by what we saw at the royal palace", and set and costume elements reflected images, architecture and other designs in the palace and elsewhere in Bangkok. For example, the stage was framed by columns of elephant figures, a large emerald Buddha loomed over Act I, and hundreds of elephant images were woven into the set. Renshaw said, "The elephant is regarded as a very holy creature ... they believe the spirit of Buddha often resides in the form of the elephant."
Stanley Green, in his Encyclopedia of the Musical Theatre, viewed the central theme of The King and I as "the importance of mutual understanding between people of differing ethnic and cultural backgrounds", but Renshaw felt the musical suffered from 1950s attitudes when "Orientalism was used as an exoticism rather than a real understanding of the particular culture." He stated that his production was informed by authentic Thai cultural, aesthetic and religious ideas that he learned from visiting Thailand. A feature in Playbill commented that the production focused on the "clash of ideologies and cultures, of East versus West". Theatre arts professor Eileen Blumenthal, however, called the production "a King and I for the age of political correctness". While she acknowledged that the musical's treatment of Asian cultures had come to be viewed as insensitive over the decades since its premiere, she argued that Rodgers and Hammerstein's script was more sensitive than most orientalist literature of its day, in that "West learns from East as well as the other way around", and that, moreover, the musical's treatment of its Asian subject is fantastical, not intended to be realistic. She concluded that the show is a documentary of "who we've been" in the West, and that The King and I should not be suppressed, because it is "too good".
The production was reproduced on Broadway, opening on April 11, 1996, at the Neil Simon Theatre, starring Donna Murphy as Anna, who won a Tony Award for her performance, and Lou Diamond Phillips as the King, with Randall Duk Kim as the Kralahome, Jose Llana as Lun Tha, Joohee Choi as Tuptim and Taewon Yi Kim as Lady Thiang. Jenna Ushkowitz made her Broadway debut as one of the children. The production was nominated for eight Tony Awards, winning best revival and three others, with acting nominations for Phillips and Choi, who each won Theatre World Awards, and seven Drama Desk Awards, winning for Outstanding Revival of a Musical; Renshaw won for his direction. The production was praised for "lavish ... sumptuous" designs by Roger Kirk (costumes) and Brian Thomson (sets), who both won Tony and Drama Desk Awards for their work. Faith Prince played the role of Anna later in the run, followed by Marie Osmond. The revival ran on Broadway for 780 performances, and Kevin Gray replaced Phillips. The production then toured in the U.S., starring Mills and Victor Talmadge. Other Annas on this tour included Osmond, Sandy Duncan, Stefanie Powers and Maureen McGovern, who ended the tour in Chicago in June 1998.
The production opened on May 3, 2000, at the London Palladium, directed by Renshaw and choreographed by Lubovitch, and using the Kirk and Thomson designs. It reportedly took in £8 million in advance ticket sales. The cast included Elaine Paige as Anna and Jason Scott Lee as the King, with Sean Ghazi as Luan Tha and Ho Yi as the Kralahome. Lady Thiang was, again, played by Taewon Yi Kim, of whom The Observer wrote, "Her 'Something Wonderful' was just that." The show was nominated for an Olivier Award for outstanding musical. Later in the run, Lee was replaced as the King by Paul Nakauchi. The revival was generally well received. The Daily Mirror said: "The King and I waltzed back to the West End in triumph last night." The Daily Express observed, "Love it or loathe it, The King and I is an unstoppable smash." Variety, however, noted a lack of chemistry between the leads, commenting that "there’s something not entirely right in Siam when the greatest applause is reserved for Lady Thiang". Replacements included Josie Lawrence as Anna, Keo Woolford as the King and Saeed Jaffrey as the Kralahome. The show closed on January 5, 2002. It toured the UK in 2002 and 2003, with Stefanie Powers and then Marti Webb as Anna and Ronobir Lahiri as the King.
2004 to present
Another U.S. national tour began in mid-2004, directed by Baayork Lee (who appeared in the original production at age 5), with choreography by Susan Kikuchi, reproducing the Robbins original. Sandy Duncan again starred as Anna, while Martin Vidnovic played the King. He had played Lun Tha in the 1977 Broadway production and voiced the King in the 1999 animated film. Stefanie Powers took over for Duncan throughout 2005. Near the end of the tour in November 2005, Variety judged that Lee had successfully "harnessed the show's physical beauty and its intrinsic exotic flavor."
Jeremy Sams directed, and Kikuchi choreographed, a limited engagement of the musical in June 2009 at the Royal Albert Hall in London. It starred Maria Friedman and Daniel Dae Kim. A U.K. national tour starred Ramon Tikaram as the King and Josefina Gabrielle as Anna, directed by Paul Kerryson, with choreography by David Needham. It opened in December 2011 in Edinburgh and continued into May 2012.
In June 2014, Théâtre du Châtelet in Paris presented an English-language production of The King and I directed by Lee Blakeley and starring Susan Graham, who was "close to perfection as Anna", Lambert Wilson, "also excellent as the king", and Lisa Milne as Lady Thiang. The New York Times called it "a grand new staging that has set French critics searching for superlatives." The Renshaw production was revived again in April 2014 by Opera Australia for performances in Sydney, Melbourne and Brisbane, directed by Renshaw and featuring Lisa McCune and Teddy Tahu Rhodes. Some critics questioned anew the portrayal of the Siamese court as barbaric and asked why a show where "the laughs come from the Thai people mis-understanding British ... culture" should be selected for revival.
A fourth Broadway revival began previews on March 12 and opened on April 16, 2015 at the Vivian Beaumont Theater. The production was directed by Bartlett Sher and starred Kelli O'Hara as Anna and Ken Watanabe, as the King, in his American stage debut. It featured Ruthie Ann Miles as Lady Thiang, Paul Nakauchi as the Kralahome, Ashley Park as Tuptim, Conrad Ricamora as Lun Tha, Jake Lucas as Louis Leonowens, and Edward Baker-Duly as Sir Edward Ramsey. Choreography by Christopher Gattelli was based on the original Jerome Robbins dances. The designers included Michael Yeargan (sets), Catherine Zuber (costumes) and Donald Holder (lighting). Reviews were uniformly glowing, with Ben Brantley of The New York Times calling it a "resplendent production", praising the cast (especially O'Hara), direction, choreographer, designs and orchestra, and commenting that Sher "sheds a light [on the vintage material] that isn't harsh or misty but clarifying [and] balances epic sweep with intimate sensibility." The production was nominated for nine Tony Awards, winning four, including Best Revival of a Musical, Best Leading Actress (for O'Hara), Best Featured Actress (for Miles) and best costume design (for Zuber), and won the Drama Desk Award for Outstanding Revival. Replacements for the King included Jose Llana Hoon Lee and Daniel Dae Kim. Replacements for Anna included Marin Mazzie. The revival closed on June 26, 2016 after 538 performances. A U.S. national tour of the production began in November 2016. The cast included Laura Michelle Kelly as Anna, Llana as the King and Joan Almedilla as Lady Thiang. The production was reproduced at the London Palladium from June through September 2018. O'Hara and Watanabe reprised their roles, with Naoko Mori and Ruthie Ann Miles sharing the role of Lady Thiang, Na-Young Jeon as Tuptim, Dean John-Wilson as Lun Tha and Takao Osawa as the Kralahome. The production was nominated for 6 Laurence Olivier Awards, including Best Musical Revival. The production was filmed and shown in theatres in late 2018.
The King and I continues to be a popular choice for productions by community theatres, school and university groups, summer camps and regional theatre companies.
Adaptations
The musical was filmed in 1956 with Brynner re-creating his role opposite Deborah Kerr. The film was nominated for nine Academy Awards and won five, including Best Actor for Brynner, with Kerr nominated for Best Actress. Sharaff won for best costume design. The film was directed by Walter Lang (who was also nominated for an Oscar) and choreographed by Robbins. Marni Nixon dubbed the singing voice of Anna, and Rita Moreno played Tuptim. Saunders as Thiang, Adiarte as Chulalongkorn and Benson as the Kralahome reprised their stage roles, as did dancers Yuriko and de Lappe. Alan Mowbray appeared in the new role of the British Ambassador, while Sir Edward Ramsey (demoted to the Ambassador's aide) was played by Geoffrey Toone. The movie's script was faithful to the stage version, although it cut a few songs; reviews were enthusiastic. Thomas Hischak, in his The Rodgers and Hammerstein Encyclopedia, states: "It is generally agreed that the [movie] is the finest film adaptation of any R & H musical". Thai officials judged the film offensive to their monarchy and banned both film and musical in 1956.
A non-musical 1972 TV comedy series, starring Brynner, was broadcast in the U.S. by CBS but was cancelled in mid-season after 13 episodes. It followed the main storyline of the musical, focusing on the relationship between the title characters. Samantha Eggar played "Anna Owens", with Brian Tochi as Chulalongkorn, Keye Luke as the Kralahome, Eric Shea as Louis, Lisa Lu as Lady Thiang, and Rosalind Chao as Princess Serena. The first episode aired on September 17, 1972, and the last aired on December 31, 1972. Margaret Landon was unhappy with this series and charged the producers with "inaccurate and mutilated portrayals" of her literary property; she unsuccessfully sued for copyright infringement.
Jerome Robbins' Broadway was a Broadway revue, directed by Robbins, showcasing scenes from some of his most popular earlier works on Broadway. The show ran from February 1989 to September 1990 and won six Tony Awards, including best musical. It featured "Shall We Dance" and "The Small House of Uncle Thomas" ballet, with Kikuchi as Eliza. Yuriko was the choreographic "reconstruction assistant".
Rich Animation Studios, Morgan Creek Productions and Warner Bros. Pictures released a 1999 animated film adaptation of the musical. Except for using some of the songs and characters, the story is unrelated to the Rodgers and Hammerstein version. Geared towards children, the adaptation includes cuddly animals, including a dragon. Voices were provided by Miranda Richardson as Anna (speaking), Christiane Noll as Anna (singing), Martin Vidnovic as the King, Ian Richardson as the Kralahome and Adam Wylie as Louis. Hischak dislikes the film but praises the vocals, adding that one compensation of the film is hearing Barbra Streisand sing a medley of "I Have Dreamed", "We Kiss in a Shadow" and "Something Wonderful", which is borrowed from Streisand's 1985 The Broadway Album and played under the film's closing credits. He expressed surprise "that the Rodgers & Hammerstein Organization allowed it to be made" and noted that "children have enjoyed The King and I for five decades without relying on dancing dragons". Ted Chapin, president of that organization, has called the film his biggest mistake in granting permission for an adaptation.
Music and recordings
Musical treatment
In his music, Rodgers sought to give some of the music an Asian flavor. This is exhibited in the piercing major seconds that frame "A Puzzlement", the flute melody in "We Kiss in a Shadow", open fifths, the exotic 6/2 chords that shape "My Lord and Master", and in some of the incidental music. The music for "The Small House of Uncle Thomas" was for the most part written not by Rodgers, but by dance music arranger Trude Rittmann, though "Hello, Young Lovers" and a snatch of "A Puzzlement" are quoted within it.
Before Rodgers and Hammerstein began writing together, the AABA form for show tunes was standard, but many of the songs in The King and I vary from it. "I Have Dreamed" is an almost continuous repetition of variations on the same theme, until the ending, when it is capped by another melody. The first five notes (an eighth note triplet and two half notes) of "Getting to Know You" also carry the melody all the way through the refrain. According to Mordden, this refusal to accept conventional forms "is one reason why their frequently heard scores never lose their appeal. They attend to situation and they unveil character, but also, they surprise you."
According to Rodgers' biographer William Hyland, the score for The King and I is much more closely tied to the action than that of South Pacific, "which had its share of purely entertaining songs". For example, the opening song, "I Whistle a Happy Tune", establishes Anna's fear upon entering a strange land with her small son, but the merry melody also expresses her determination to keep a stiff upper lip. Hyland calls "Hello, Young Lovers" an archetypical Rodgers ballad: simple, with only two chords in the first eight bars, but moving in its directness.
Recordings
The original cast recording of The King and I was released by Decca Records in 1951. While John Kenrick admires it for the performances of the secondary couple, Larry Douglas and Doretta Morrow, and for the warmth of Lawrence's performance, he notes that "Shall We Dance" was abridged, and there are no children's voices – the chorus in "Getting to Know You" is made up of adults. In 2000, the recording was inducted into the Grammy Hall of Fame. Later in the same year Patrice Munsel and Robert Merrill made the first studio recording of selections from the musical. Hischak comments that in the 1953 London cast album, Valerie Hobson's vocals were no stronger than Lawrence's and that the highlight is Muriel Smith's "Something Wonderful" in a disc with too many cuts. He calls Anna's songs "well served" by Marni Nixon's singing in the 1956 film soundtrack and judges the recording as vocally satisfying; Kenrick describes it as a "mixed bag": he is pleased that it includes several songs cut from the film, and he praises Nixon's vocals, but he dislikes the supporting cast and suggests watching the movie instead for its visual splendor.
Kenrick prefers the 1964 Lincoln Center cast recording to the earlier ones, especially approving of the performances of Risë Stevens as Anna and Patricia Neway as Lady Thiang. The recording, for the first time, included the narrated ballet music for "The Small House of Uncle Thomas". Because a single LP limited a single-disc album to about fifty minutes, its inclusion required the absence of some of the other numbers. Kenrick finds the recording of the 1977 Broadway revival cast to be "[e]asily the most satisfying King & I on CD". He judges it to be Brynner's best performance, calling Towers "great" and Martin Vidnovic, June Angela and the rest of the supporting cast "fabulous", though lamenting the omission of the ballet. Hischak, in contrast, says that some might prefer Brynner in his earlier recordings, when he was "more vibrant". Kenrick enjoys the 1992 Angel studio recording mostly for the Anna of Julie Andrews, who he says is "pure magic" in a role she never performed on stage. Kenrick praises the performance of both stars on the 1996 Broadway revival recording, calling Lou Diamond Phillips "that rarity, a King who can stand free of Brynner's shadow". Hischak finds the soundtrack to the 1999 animated film with Christiane Noll as Anna and Martin Vidnovic as the King, as well as Barbra Streisand singing on one track, more enjoyable than the movie itself, but Kenrick writes that his sole use for that CD is as a coaster.
Critical reception
Opening night reviews of the musical were strongly positive. Richard Watts in the New York Post termed it "[a]nother triumph for the masters". Critic John Mason Brown stated, "They have done it again." The New York Times drama critic Brooks Atkinson wrote: "This time Messrs. Rodgers and Hammerstein are not breaking any fresh trails, but they are accomplished artists of song and words in the theater; and The King and I is a beautiful and lovable musical play." Barely less enthusiastic was John Lardner in The New Yorker, who wrote, "Even those of us who find [the Rodgers and Hammerstein musicals] a little too unremittingly wholesome are bound to take pleasure in the high spirits and technical skill that their authors, and producers, have put into them." Otis Guernsey wrote for the New York Herald Tribune, "Musicals and leading men will never be the same after last night ... Brynner set an example that will be hard to follow ... Probably the best show of the decade.
The balance of opinion among the critics of the original London production was generally favorable, with a few reservations. In The Observer, Ivor Brown predicted that the piece would "settle down for some years at Drury Lane." The anonymous critic of The Times compared the work to Gilbert and Sullivan: "Mr. Rodgers charmingly echoes Sullivan in the king's more topsy-turvy moments; and Mr. Hammerstein attends very skilfully to the lurking Gilbertian humour." Less favorably, in the Daily Express, John Barber called the work "this treacle-bin Mikado", and declared that only one of the cast, Muriel Smith, could really sing.
In 1963, New York Times reviewer Lewis Funke said of the musical, "Mr. Hammerstein put all of his big heart into the simple story of a British woman's adventures, heartaches, and triumphs. ... A man with a world-view, he seized the opportunity provided by [Landon's book] to underscore his thoughts on the common destiny of humanity." Fourteen years later, another Times reviewer, Clive Barnes, called the musical "unsophisticated and untroubled. Even its shadows are lightened with a laugh or a sweetly sentimental tear ... we can even be persuaded to take death as a happy ending".
The reworked 1996 Broadway production received mixed reviews. Vincent Canby of The New York Times disliked it: "This latest King and I might look like a million dollars as a regional production; on Broadway ... it's a disappointment. The score remains enchanting but, somewhere along the line, there has been a serious failure of the theatrical imagination." But Liz Smith enthused: "The King and I is perfect"; and the Houston Chronicle wrote, of the subsequent tour, "The King and I is the essence of musical theater, an occasion when drama, music, dance and decor combine to take the audience on an unforgettable journey." Critic Richard Christiansen in the Chicago Tribune observed, of a 1998 tour stop at the Auditorium Theatre: "Written in a more leisurely and innocent and less politically correct period, [The King and I] cannot escape the 1990s onus of its condescending attitude toward the pidgin English monarch and his people. And its story moves at a pace that's a mite too slow for this more hurried day and age." When the production reached London in 2000, however, it received uniformly positive reviews; the Financial Times called it "a handsome, spectacular, strongly performed introduction to one of the truly great musicals".
The 2015 Broadway revival initially received uniformly glowing reviews. Ben Brantley of The New York Times called it a "resplendent production" and commented:
Marilyn Stasio, in Variety, termed the production "sumptuous" and "absolutely stunning". She noted a "still pertinent theme: the dissonant dynamic when Western civilization tries to assert its values on ancient Eastern cultures." In USA Today, Elysa Gardner wrote of the grins and tears evoked by the production. "[W]atching these people from vastly different cultures carefully but joyfully reach for common ground ... can be almost unbearably moving. ... [Rodgers and Hammerstein's] textured humanity and appeals for tolerance, like their shimmering scores, only gain resonance as time passes." The production's attempts to achieve historical accuracy and explore the work's dark themes with a modern sensibility led some reviewers to conclude that it succeeds at converting the musical's orientalism into "a modern critique of racism and sexism". Other commentators, however, such as composer Mohammed Fairouz, argued that an attempt at sensitivity in production cannot compensate for "the inaccurate portrayal of the historic King Mongkut as a childlike tyrant and the infantilization of the entire Siamese population of the court", which demonstrate a racist subtext in the piece, even in 1951 when it was written. Benjamin Ivry opined that "the Rodgers and Hammerstein organization should shelve the [musical] as a humanitarian gesture toward Southeast Asian history and art".
Fifty years after its premiere, Rodgers biographer Meryle Secrest summed up the musical:
References
Bibliography
Block, Geoffrey (ed.) The Richard Rodgers Reader. New York: Oxford University Press (US), 2006. .
Bloom, Ken and Vlastnik, Frank. Broadway Musicals: The 101 Greatest Shows of All Time. New York: Black Dog & Leventhal Publishers, 2004. .
Capua, Michelangelo. Yul Brynner: A Biography, Jefferson, N.C.: McFarland & Co. Inc., 2006; .
Fordin, Hugh. Getting to Know Him: A Biography of Oscar Hammerstein II. Jefferson, N.C.: Da Capo Press, 1995 reprint of 1986 edition. .
Green, Stanley. "Encyclopedia of the Musical Theatre. Jefferson, N.C.: Da Capo Press, 1980. .
Hammerstein, Oscar Andrew. The Hammersteins: A Musical Theatre Family. New York: Black Dog & Leventhal Publishers, 2010. .
Hischak, Thomas S. The Rodgers and Hammerstein Encyclopedia. Westport, Conn.: Greenwood Publishing Group, 2007. .
Hyland, William G. Richard Rodgers. New Haven, Conn.: Yale University Press, 1998. .
Ma, Sheng-mei. "Rodgers and Hammerstein's 'Chopsticks' musicals". Literature/Film Quarterly, Vol. 31, Number 1 (2003), pp. 17–26.
Mordden, Ethan. Rodgers & Hammerstein. New York: Harry N. Abrams, Inc., 1992. .
Morgan, Susan. Bombay Anna: The Real Story and Remarkable Adventures of the King and I Governess, Berkeley, Cal.: University of California Press, 2008; .
Morley, Sheridan, Gertrude Lawrence. New York: McGraw-Hill, 1981. .
Nolan, Frederick. The Sound of Their Music: The Story of Rodgers and Hammerstein. Cambridge, Mass.: Applause Theatre and Cinema Books, 2002. .
Secrest, Meryle. Somewhere for Me: A Biography of Richard Rodgers. Cambridge, Mass.: Applause Theatre and Cinema Books, 2001. .
Further reading
Rodgers, Richard. Musical Stages: An Autobiography. Jefferson, N.C. Da Capo Press, 2002 reprint of 1975 edition. .
Ponti, Carla. The Musical Representation of Asian Characters in the Musicals of Richard Rodgers, University of California: San Diego, 2010.
External links
Performance at the 2015 Tony Awards
The King and I
1951 musicals
Broadway musicals
Buddhism in fiction
Drama Desk Award-winning musicals
Grammy Hall of Fame Award recipients
Monarchy in fiction
Musicals based on novels
Musicals by Rodgers and Hammerstein
Plays set in the 19th century
Polygamy in fiction
Thailand in fiction
Tony Award for Best Musical
West End musicals
Musicals inspired by real-life events
Cultural depictions of Anna Leonowens
Cultural depictions of Mongkut
Tony Award-winning musicals | true | [
"Thihapate of Tagaung (, ; also known as Nga Nauk Hsan (ငနောက်ဆံ, ); d. November 1400) was governor of Tagaung from 1367 to 1400. The powerful governor of the northernmost vassal state of Ava was a brother-in-law of King Swa Saw Ke, and had even served as a tutor to Crown Prince Tarabya. In 1380/81, he was even considered by King Swa Saw Ke as a candidate to become king of Arakan although he was ultimately passed over.\n\nThihapate came to Ava (Inwa) in 1400 to serve as an advisor to his one-time pupil Tarabya, who had become king. With Tarabya becoming mentally unstable, Thihapate assassinated the young king in November 1400, and tried to seize the throne. But the Ava court did not accept him, promptly executed him.\n\nNotes\n\nReferences\n\nBibliography\n \n \n \n\nAva dynasty\n1400 deaths",
"Ao Run (敖闰) or Ao Ji (敖吉), is the Dragon King of the West Sea (西海龙王, Xīhǎi Lóngwáng) and one of the Dragon Kings of the Four Seas in Chinese religion and Korean mythology. As an important belief in Chinese folk religion, Four Dragon King Temples are built around the place to worship the Dragon Kings.\n\nAo Run is the patron of Qinghai Lake and could be linked to the White Tiger as both are Chinese western gods. His brothers are Ao Guang, the Dragon King of the East Sea, Ao Qin, the Dragon King of the South Sea, and Ao Shun, the Dragon King of the North Sea.\n\nLegends\nAccording to Legend of Qinghai (传说青海), a long time ago, the King of Dragons was very happy to see that his queen had given birth to four dragons. Many years later, the four dragons grew up, causing more and more mischievous pranks until the Dragon King was out of breath. One day, the King of Dragons came up with a way to summon all the dragon princes into the Crystal Palace. He said, \"You have grown up, so you should all have your own side.\" Then he ordered the eldest prince Ao Guang to become the King of the East China Sea, the second prince Ao Qin to become the King of the South China Sea, and the third prince Ao Shun to become the King of the North Sea. The King of Dragons wanted to keep the little prince Ao Run beside him, but Ao Run said, \"I will be the King of the West Sea!\" The King of Dragons laughed and praised him. Beyond the Huaxia's Nine Provinces, Ao Run did not see the West Sea. When he came to the southern foot of Qilian Mountain, he was exhausted. He cried sadly, \"How can I be the King of the West Sea without the West Sea?\" Then he climbed to the top of Qilian Mountain and made a big storm, but it did not suffice. When the Jade Emperor saw this happen, he felt pity. Therefore, he sent Lord of Thunder, Mother of Lightning, Earl of Wind, and Youth of Cloud to help Ao Run. Lightning, thunder, and storms created Haizi with an area of more than 5,000 square kilometers and a depth of more than 20 meters, which became the West Sea (Qinghai Lake). Since then, Ao Run has become the Dragon King of the West Sea.\n\nAo Run has three children. His sons are Ao Lie, who was the steed of \nTang Sanzang, and Ao Moang (敖摩昂). He has a daughter named Ao Cinxin (敖寸心), also known as the Xihai Longnü (西海龙女).\n\nIn Korean mythology\nIn the better-known Jakjaegeon myth, a part of the Goryeo Dynasty founding myth, Jakjaegeon kills an old Gwishin with a bow at the request of the Dragon King of the West Sea, who appears to him in a dream. The Dragon King of the West Sea gives him his daughter in gratitude, and the Dragon King of the West Sea tells Jakjaegeon that his grandson (King Taejo of Goryeo) will be king. Jakjaegeon has four sons, of which the eldest is Yong Geon, the father of King Taejo of Goryeo.\n\nIn Korean history, the Dragon King of the West Sea sent a turtle to King Changsu of Goguryeo in congratulation of his transfer of the capital to Pyongyang.\n\nIn popular culture \nThe generic name of the extinct genus of dinosaur Aorun, is actually a shortened masculine name of Ao Run.\n\nSee also\nBai Longma\n\nReferences\n\nSources\n\nChinese gods\nInvestiture of the Gods characters\nJourney to the West characters\nWater gods"
]
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[
"The King and I",
"Historical background",
"whats the historical background of the king",
"Mongkut, King of Siam, was about 57 years old in 1861. He had lived half his life as a Buddhist monk,",
"when did he become king",
"When Nangklao died in 1850, Mongkut became king."
]
| C_a7100cea58f5442e87cf4742cef4a56f_1 | how did nangklao die | 3 | How did Nangklao die in 1850? | The King and I | Mongkut, King of Siam, was about 57 years old in 1861. He had lived half his life as a Buddhist monk, was an able scholar, and founded a new order of Buddhism and a temple in Bangkok (paid for by his half-brother, King Nangklao). Through his decades of devotion, Mongkut acquired an ascetic lifestyle and a firm grasp of Western languages. When Nangklao died in 1850, Mongkut became king. At that time, various European countries were striving for dominance, and American traders sought greater influence in Southeast Asia. He ultimately succeeded in keeping Siam an independent nation, partly by familiarizing his heirs and harem with Western ways. In 1861, Mongkut wrote to his Singapore agent, Tan Kim Ching, asking him to find a British lady to be governess to the royal children. At the time, the British community in Singapore was small, and the choice fell on a recent arrival there, Anna Leonowens (1831-1915), who was running a small nursery school in the colony. Leonowens was the Anglo-Indian daughter of an Indian Army soldier and the widow of Thomas Owens, a clerk and hotel keeper. She had arrived in Singapore two years previously, claiming to be the genteel widow of an officer and explaining her dark complexion by stating that she was Welsh by birth. Her deception was not detected until long after her death, and had still not come to light when The King and I was written. Upon receiving the King's invitation, Leonowens sent her daughter, Avis, to school in England, to give Avis the social advantage of a prestigious British education, and traveled to Bangkok with her five-year-old son, Louis. King Mongkut had sought a Briton to teach his children and wives after trying local missionaries, who used the opportunity to proselytize. Leonowens initially asked for $150 in Singapore currency per month. Her additional request, to live in or near the missionary community to ensure she was not deprived of Western company, aroused suspicion in Mongkut, who cautioned in a letter, "we need not have teacher of Christianity as they are abundant here". King Mongkut and Leonowens came to an agreement: $100 per month and a residence near the royal palace. At a time when most transport in Bangkok was by boat, Mongkut did not wish to have to arrange for the teacher to get to work every day. Leonowens and Louis temporarily lived as guests of Mongkut's prime minister, and after the first house offered was found to be unsuitable, the family moved into a brick residence (wooden structures decayed quickly in Bangkok's climate) within walking distance of the palace. In 1867, Leonowens took a six-month leave of absence to visit her daughter Avis in England, intending to deposit Louis at a school in Ireland and return to Siam with Avis. However, due to unexpected delays and opportunities for further travel, Leonowens was still abroad in late 1868, when Mongkut fell ill and died. Leonowens did not return to Siam, although she continued to correspond with her former pupil, the new king Chulalongkorn. CANNOTANSWER | CANNOTANSWER | The King and I is the fifth musical by the team of Rodgers and Hammerstein. It is based on Margaret Landon's novel, Anna and the King of Siam (1944), which is in turn derived from the memoirs of Anna Leonowens, governess to the children of King Mongkut of Siam in the early 1860s. The musical's plot relates the experiences of Anna, a British schoolteacher who is hired as part of the King's drive to modernize his country. The relationship between the King and Anna is marked by conflict through much of the piece, as well as by a love to which neither can admit. The musical premiered on March 29, 1951, at Broadway's St. James Theatre. It ran for nearly three years, making it the fourth-longest-running Broadway musical in history at the time, and has had many tours and revivals.
In 1950, theatrical attorney Fanny Holtzmann was looking for a part for her client, veteran leading lady Gertrude Lawrence. Holtzmann realized that Landon's book would provide an ideal vehicle and contacted Rodgers and Hammerstein, who were initially reluctant but agreed to write the musical. The pair initially sought Rex Harrison to play the supporting part of the King, a role he had played in the 1946 film made from Landon's book, but he was unavailable. They settled on the young actor and television director Yul Brynner.
The musical was an immediate hit, winning Tony Awards for Best Musical, Best Actress (for Lawrence) and Best Featured Actor (for Brynner). Lawrence died unexpectedly of cancer a year and a half after the opening, and the role of Anna was played by several actresses during the remainder of the Broadway run of 1,246 performances. A hit London run and U.S. national tour followed, together with a 1956 film for which Brynner won an Academy Award, and the musical was recorded several times. In later revivals, Brynner came to dominate his role and the musical, starring in a four-year national tour culminating in a 1985 Broadway run shortly before his death.
Christopher Renshaw directed major revivals on Broadway (1996), winning the Tony Award for Best Revival, and in the West End (2000). A 2015 Broadway revival won another Tony for Best Revival. Both professional and amateur revivals of The King and I continue to be staged regularly throughout the English-speaking world.
Historical background
Mongkut, King of Siam, was about 57 years old in 1861. He had lived half his life as a Buddhist monk, was an able scholar, and founded a new order of Buddhism and a temple in Bangkok (paid for by his half-brother, King Nangklao). Through his decades of devotion, Mongkut acquired an ascetic lifestyle and a firm grasp of Western languages. When Nangklao died in 1850, Mongkut became king. At that time, various European countries were striving for dominance, and American traders sought greater influence in Southeast Asia. He ultimately succeeded in keeping Siam an independent nation, partly by familiarizing his heirs and harem with Western ways.
In 1861, Mongkut wrote to his Singapore agent, Tan Kim Ching, asking him to find a British lady to be governess to the royal children. At the time, the British community in Singapore was small, and the choice fell on a recent arrival there, Anna Leonowens (1831–1915), who was running a small nursery school in the colony. Leonowens was the Anglo-Indian daughter of an Indian Army soldier and the widow of Thomas Owens, a clerk and hotel keeper. She had arrived in Singapore two years previously, claiming to be the genteel widow of an officer and explaining her dark complexion by stating that she was Welsh by birth. Her deception was not detected until long after her death, and had still not come to light when The King and I was written.
Upon receiving the King's invitation, Leonowens sent her daughter, Avis, to school in England, to give Avis the social advantage of a prestigious British education, and traveled to Bangkok with her five-year-old son, Louis. King Mongkut had sought a Briton to teach his children and wives after trying local missionaries, who used the opportunity to proselytize. Leonowens initially asked for $150 in Singapore currency per month. Her additional request, to live in or near the missionary community to ensure she was not deprived of Western company, aroused suspicion in Mongkut, who cautioned in a letter, "we need not have teacher of Christianity as they are abundant here". King Mongkut and Leonowens came to an agreement: $100 per month and a residence near the royal palace. At a time when most transport in Bangkok was by boat, Mongkut did not wish to have to arrange for the teacher to get to work every day. Leonowens and Louis temporarily lived as guests of Mongkut's prime minister, and after the first house offered was found to be unsuitable, the family moved into a brick residence (wooden structures decayed quickly in Bangkok's climate) within walking distance of the palace.
In 1867, Leonowens took a six-month leave of absence to visit her daughter Avis in England, intending to deposit Louis at a school in Ireland and return to Siam with Avis. However, due to unexpected delays and opportunities for further travel, Leonowens was still abroad in late 1868, when Mongkut fell ill and died. Leonowens did not return to Siam, although she continued to correspond with her former pupil, the new king Chulalongkorn.
Creation
In 1950, British actress Gertrude Lawrence's business manager and attorney, Fanny Holtzmann, was looking for a new vehicle for her client when the 1944 Margaret Landon novel Anna and the King of Siam (a fictionalized version of Leonowens' experiences) was sent to her by Landon's agent. According to Rodgers biographer Meryle Secrest, Holtzmann was worried that Lawrence's career was fading. The 51-year-old actress had appeared only in plays, not in musicals, since Lady in the Dark closed in 1943. Holtzmann agreed that a musical based on Anna and the King of Siam would be ideal for her client, who purchased the rights to adapt the novel for the stage.
Holtzmann initially wanted Cole Porter to write the score, but he declined. She was going to approach Noël Coward next, but happened to meet Dorothy Hammerstein (Oscar's wife) in Manhattan. Holtzmann told Dorothy Hammerstein that she wanted Rodgers and Hammerstein to create a show for Lawrence, and asked her to see that her husband read a book that Holtzmann would send over. In fact, both Dorothy Rodgers and Dorothy Hammerstein had read the novel in 1944 and had urged their husbands to consider it as a possible subject for a musical. Dorothy Hammerstein had known Gertrude Lawrence since 1925, when they had both appeared in André Charlot's London Revue of 1924 on Broadway and on tour in North America.
Rodgers and Hammerstein had disliked Landon's novel as a basis for a musical when it was published, and their views still held. It consists of vignettes of life at the Siamese court, interspersed with descriptions of historical events unconnected with each other, except that the King creates most of the difficulties in the episodes, and Anna tries to resolve them. Rodgers and Hammerstein could see no coherent story from which a musical could be made until they saw the 1946 film adaptation, starring Irene Dunne and Rex Harrison, and how the screenplay united the episodes in the novel. Rodgers and Hammerstein were also concerned about writing a star vehicle. They had preferred to make stars rather than hire them, and engaging the legendary Gertrude Lawrence would be expensive. Lawrence's voice was also a worry: her limited vocal range was diminishing with the years, while her tendency to sing flat was increasing. Lawrence's temperament was another concern: though she could not sing like one, the star was known to be capable of diva-like behavior. In spite of this, they admired her acting – what Hammerstein called her "magic light", a compelling presence on stage – and agreed to write the show. For her part, Lawrence committed to remaining in the show until June 1, 1953, and waived the star's usual veto rights over cast and director, leaving control in the hands of the two authors.
Hammerstein found his "door in" to the play in Landon's account of a slave in Siam writing about Abraham Lincoln. This would eventually become the narrated dance, "The Small House of Uncle Thomas". Since a frank expression of romantic feelings between the King and Anna would be inappropriate in view of both parties' upbringing and prevailing social mores, Hammerstein wrote love scenes for a secondary couple, Tuptim, a junior wife of the King, and Lun Tha, a scholar. In the Landon work, the relationship is between Tuptim and a priest, and is not romantic. The musical's most radical change from the novel was to have the King die at the end of the musical. Also, since Lawrence was not primarily a singer, the secondary couple gave Rodgers a chance to write his usual "soaring" romantic melodies. In an interview for The New York Times, Hammerstein indicated that he wrote the first scene before leaving for London and the West End production of Carousel in mid-1950; he wrote a second scene while in the British capital.
The pair had to overcome the challenge of how to represent Thai speech and music. Rodgers, who had experimented with Asian music in his short-lived 1928 musical with Lorenz Hart titled Chee-chee, did not wish to use actual Thai music, which American audiences might not find accessible. Instead, he gave his music an exotic flavor, using open fifths and chords in unusual keys, in ways pleasant to Western ears. Hammerstein faced the problem of how to represent Thai speech; he and Rodgers chose to convey it by musical sounds, made by the orchestra. For the King's style of speech, Hammerstein developed an abrupt, emphatic way of talking, which was mostly free of articles, as are many East Asian languages. The forceful style reflected the King's personality and was maintained even when he sang, especially in his one solo, "A Puzzlement". Many of the King's lines, including his first utterance, "Who? Who? Who?", and much of the initial scene between him and Anna, are drawn from Landon's version. Nevertheless, the King is presented more sympathetically in the musical than in the novel or the 1946 film, as the musical omits the torture and burning at the stake of Lady Tuptim and her partner.
With Rodgers laid up with back trouble, Hammerstein completed most of the musical's book before many songs were set to music. Early on, Hammerstein contacted set designer Jo Mielziner and costume designer Irene Sharaff and asked them to begin work in coordination with each other. Sharaff communicated with Jim Thompson, an American who had revived the Thai silk industry after World War II. Thompson sent Sharaff samples of silk cloth from Thailand and pictures of local dress from the mid-19th century. One such picture, of a Thai woman in western dress, inspired the song "Western People Funny", sung by the King's chief wife, Lady Thiang, while dressed in western garb.
Producer Leland Hayward, who had worked with the duo on South Pacific, approached Jerome Robbins to choreograph a ballet for "The Small House of Uncle Thomas". Robbins was very enthusiastic about the project and asked to choreograph the other musical numbers as well, although Rodgers and Hammerstein had originally planned little other dancing. Robbins staged "The Small House of Uncle Thomas" as an intimate performance, rather than a large production number. His choreography for the parade of the King's children to meet their teacher ("March of the Royal Siamese Children") drew great acclaim. Robert Russell Bennett provided the orchestrations, and Trude Rittmann arranged the ballet music.
The pair discussed having an Act 1 musical scene involving Anna and the King's wives. The lyrics for that scene proved to be very difficult for Hammerstein to write. He first thought that Anna would simply tell the wives something about her past, and wrote such lyrics as "I was dazzled by the splendor/Of Calcutta and Bombay" and "The celebrities were many/And the parties very gay/(I recall a curry dinner/And a certain Major Grey)." Eventually, Hammerstein decided to write about how Anna felt, a song which would not only explain her past and her motivation for traveling with her son to the court of Siam, but also serve to establish a bond with Tuptim and lay the groundwork for the conflict that devastates Anna's relationship with the King. "Hello, Young Lovers", the resulting song, was the work of five exhausting weeks for Hammerstein. He finally sent the lyrics to Rodgers by messenger and awaited his reaction. Hammerstein considered the song his best work and was anxious to hear what Rodgers thought of it, but no comment came from Rodgers. Pride kept Hammerstein from asking. Finally, after four days, the two happened to be talking on the phone about other matters, and at the end of the conversation, Rodgers stated, very briefly, that the lyric was fine. Josh Logan, who had worked closely with Hammerstein on South Pacific, listened to the usually unflappable writer pour out his unhappy feelings. It was one of the few times that Hammerstein and Rodgers did not display a united front.
Casting and auditions
Although the part of the King was only a supporting role to Lawrence's Anna, Hammerstein and Rodgers thought it essential that a well-known theatrical actor play it. The obvious choice was Rex Harrison, who had played the King in the movie, but he was booked, as was Noël Coward. Alfred Drake, the original Curly in Oklahoma!, made contractual demands which were deemed too high. With time running short before rehearsals, finding an actor to play the King became a major concern. Mary Martin, the original Nellie Forbush in South Pacific, suggested that her co-star in a 1946 musical set in China, Lute Song, try for the role. Rodgers recounted the audition of the Russian-American performer, Yul Brynner:
Brynner termed Rodgers' account "very picturesque, but totally inaccurate". He recalled that as an established television director (in CBS's Starlight Theatre, for example), he was reluctant to go back on the stage. His wife, his agent and Martin finally convinced him to read Hammerstein's working script, and once he did, he was fascinated by the character of the King and was eager to do the project. In any case, Brynner's fierce, mercurial, dangerous, yet surprisingly sensitive King was an ideal foil for Lawrence's strong-willed, yet vulnerable Anna, and when the two finally came together in "Shall We Dance?", where the King hesitantly touches Anna's waist, the chemistry was palpable.
Pre-rehearsal preparations began in late 1950. Hammerstein had wanted Logan to direct and co-write the book, as he had for South Pacific, but when Logan declined, Hammerstein decided to write the entire book himself. Instead of Logan, the duo hired as director John van Druten, who had worked with Lawrence years earlier. The costume designer, Sharaff, wryly pointed the press to the incongruity of a Victorian British governess in the midst of an exotic court: "The first-act finale of The King and I will feature Miss Lawrence, Mr. Brynner, and a pink satin ball gown." Mielziner's set plan was the simplest of the four Rodgers and Hammerstein musicals he had worked on, with one main set (the throne room), a number of front-stage drops (for the ship and Anna's room, for example) and the entire stage cleared for "The Small House of Uncle Thomas".
The show was budgeted at $250,000 (US$ in dollars) making it the most expensive Rodgers and Hammerstein production to that point, and prompting some mockery that costs exceeded even their expensive flop Allegro. Investors included Hammerstein, Rodgers, Logan, Martin, Billy Rose and Hayward. The children who were cast as the young princes and princesses came from a wide range of ethnic backgrounds, including Puerto Rican or Italian, though none were Thai. Johnny Stewart was the original Prince Chulalongkorn but left the cast after only three months, replaced by Ronnie Lee. Sandy Kennedy was Louis, and Broadway veteran Larry Douglas played Lun Tha.
Shortly before rehearsals began in January 1951, Rodgers had the first Tuptim, Doretta Morrow, sing the entire score to Lawrence, including Lawrence's own songs. Lawrence listened calmly, but when she met Rodgers and Hammerstein the following day, she treated Rodgers coldly, apparently seeing the composer's actions as flaunting her vocal deficiencies. Hammerstein and Rodgers' doubts about whether Lawrence could handle the part were assuaged by the sheer force of her acting. James Poling, a writer for Collier's who was allowed to attend the rehearsals, wrote of Lawrence preparing "Shall I Tell You What I Think of You?":
At his first meeting with Sharaff, Brynner, who had only a fringe of hair, asked what he was to do about it. When told he was to shave it, Brynner was horror-struck and refused, convinced he would look terrible. He finally gave in during tryouts and put dark makeup on his shaved head. The effect was so well-received that it became Brynner's trademark.
Lawrence's health caused her to miss several rehearsals, though no one knew what was wrong with her. When the tryout opened in New Haven, Connecticut on February 27, 1951, the show was nearly four hours long. Lawrence, suffering from laryngitis, had missed the dress rehearsal but managed to make it through the first public performance. The Variety critic noted that despite her recent illness she "slinks, acts, cavorts, and in general exhibits exceedingly well her several facets for entertaining", but the Philadelphia Bulletin printed that her "already thin voice is now starting to wear a great deal thinner". Leland Hayward came to see the show in New Haven and shocked Rodgers by advising him to close it before it went any further. Additionally, when the show left New Haven for Boston for more tryout performances, it was still at least 45 minutes too long. Gemze de Lappe, who was one of the dancers, recalled one cut that she regretted:
This song, "Waiting", was a trio for Anna, the King, and the Kralahome (the King's prime minister). "Who Would Refuse?", the Kralahome's only solo, was also dropped. Left without a note to sing, Mervyn Vye abandoned the show and was replaced by John Juliano. "Now You Leave", a song for Lady Thiang (played by Dorothy Sarnoff in the original production), was also cut. After the cuts, Rodgers and Hammerstein felt that the first act was lacking something. Lawrence suggested that they write a song for Anna and the children. Mary Martin reminded them of a song that had been cut from South Pacific, "Suddenly Lucky". Hammerstein wrote a new lyric for the melody, and the resulting song became "Getting to Know You". "Western People Funny" and "I Have Dreamed" were also added in Boston.
Brynner regretted that there were not more tryout performances, feeling that the schedule did not give him an adequate opportunity to develop the complex role of the King. When he told this to Hammerstein and Rodgers, they asked what sort of performance they would get from him, and he responded, "It will be good enough, it will get the reviews."
Plot
Act 1
In 1862, a strong-willed, widowed schoolteacher, Anna Leonowens, arrives in Bangkok, Siam (later known as Thailand) at the request of the King of Siam to tutor his many children. Anna's young son, Louis, fears the severe countenance of the King's prime minister, the Kralahome, but Anna refuses to be intimidated ("I Whistle a Happy Tune"). The Kralahome has come to escort them to the palace, where they are expected to live – a violation of Anna's contract, which calls for them to live in a separate house. She considers returning to Singapore aboard the vessel that brought them, but goes with her son and the Kralahome.
Several weeks pass, during which Anna and Louis are confined to their palace rooms. The King receives a gift from the king of Burma, a lovely slave girl named Tuptim, to be one of his many wives. She is escorted by Lun Tha, a scholar who has come to copy a design for a temple, and the two are secretly in love. Tuptim, left alone, declares that the King may own her, but not her heart ("My Lord and Master"). The King gives Anna her first audience. The schoolteacher is a part of his plan for the modernization of Siam; he is impressed when she already knows this. She raises the issue of her house with him, he dismisses her protests and orders her to talk with his wives. They are interested in her, and she tells them of her late husband, Tom ("Hello, Young Lovers"). The King presents her new pupils; Anna is to teach those of his children whose mothers are in favor with him – several dozen – and is to teach their mothers as well. The princes and princesses enter in procession ("March of the Royal Siamese Children"). Anna is charmed by the children, and formality breaks down after the ceremony as they crowd around her.
Anna has not given up on the house, and teaches the children proverbs and songs extolling the virtues of home life, to the King's irritation. The King has enough worries without battling the schoolteacher, and wonders why the world has become so complicated ("A Puzzlement"). The children and wives are hard at work learning English ("The Royal Bangkok Academy"). The children are surprised by a map showing how small Siam is compared with the rest of the world ("Getting to Know You"). As the crown prince, Chulalongkorn, disputes the map, the King enters a chaotic schoolroom. He orders the pupils to believe the teacher but complains to Anna about her lessons about "home". Anna stands her ground and insists on the letter of her contract, threatening to leave Siam, much to the dismay of wives and children. The King orders her to obey as "my servant"; she repudiates the term and hurries away. The King dismisses school, then leaves, uncertain of his next action. Meanwhile, Lun Tha comes upon Tuptim, and they muse about having to hide their relationship ("We Kiss in a Shadow").
In her room, Anna replays the confrontation in her mind, her anger building ("Shall I Tell You What I Think of You?"). Lady Thiang, the King's head wife, tells Anna that the King is troubled by his portrayal in the West as a barbarian, as the British are being urged to take over Siam as a protectorate. Anna is shocked by the accusations – the King is a polygamist, but he is no barbarian – but she is reluctant to see him after their argument. Lady Thiang convinces her that the King is deserving of support ("Something Wonderful"). Anna goes to him and finds him anxious for reconciliation. The King tells her that the British are sending an envoy to Bangkok to evaluate the situation. Anna "guesses" – the only guise in which the King will accept advice – that the King will receive the envoy in European style, and that the wives will be dressed in Western fashion. Tuptim has been writing a play based on a book that Anna has lent her, Uncle Tom's Cabin, that can be presented to the guests. News is brought to the King that the British are arriving much earlier than thought, and so Anna and the wives are to stay up all night to prepare. The King assembles his family for a Buddhist prayer for the success of the venture and also promises before Buddha that Anna will receive her own house "as provided in agreement, etc., etc."
Act 2
The wives are dressed in their new European-style gowns, which they find confining ("Western People Funny"). In the rush to prepare, the question of undergarments has been overlooked, and the wives have practically nothing on underneath their gowns. When the British envoy, Sir Edward Ramsay, arrives and gazes at them through a monocle, they are panicked by the "evil eye" and lift their skirts over their heads as they flee. Sir Edward is diplomatic about the incident. When the King is called away, it emerges that Sir Edward is an old flame of Anna's, and they dance in remembrance of old times, as Edward urges her to return to British society. The King returns and irritably reminds them that dancing is for after dinner.
As final preparations for the play are made, Tuptim steals a moment to meet with Lun Tha. He tells her he has an escape plan, and she should be ready to leave after the performance ("I Have Dreamed"). Anna encounters them, and they confide in her ("Hello, Young Lovers", reprise). The play ("Small House of Uncle Thomas", narrated ballet) is presented in a Siamese ballet-inspired dance. Tuptim is the narrator, and she tells her audience of the evil King Simon of Legree and his pursuit of the runaway slave Eliza. Eliza is saved by Buddha, who miraculously freezes a river and conceals her in snow. Buddha then causes the river to melt, drowning King Simon and his hunting party. The anti-slavery message is blunt.
After the play, Sir Edward reveals that the British threat has receded, but the King is distracted by his displeasure at Tuptim's rebellious message. After Sir Edward leaves, Anna and the King express their delight at how well the evening went, and he presents her with a ring. Secret police report that Tuptim is missing. The King realizes that Anna knows something; she parries his inquiry by asking why he should care: Tuptim is just another woman to him. He is delighted; she is at last understanding the Siamese perspective. Anna tries to explain to him the Western customs of courtship and tells him what it is like for a young woman at a formal dance ("Shall We Dance?"). He demands that she teach him the dance. She does, and in that dance they experience and express a love for each other that they can never speak aloud. They are interrupted by the Kralahome. Tuptim has been captured, and a search is on for Lun Tha. The King resolves to punish Tuptim, though she denies she and Lun Tha were lovers. Anna tries to dissuade him, but he is determined that her influence shall not rule, and he takes the whip himself. He turns to lash Tuptim, but under Anna's gaze is unable to swing the whip, and hurries away. Lun Tha is found dead, and Tuptim is dragged off, swearing to kill herself; nothing more is heard about her. Anna asks the Kralahome to give her ring back to the King; both schoolteacher and minister state their wish that she had never come to Siam.
Several months pass with no contact between Anna and the King. Anna is packed and ready to board a ship leaving Siam. Chulalongkorn arrives with a letter from the King, who has been unable to resolve the conflicts within himself and is dying. Anna hurries to the King's bedside and they reconcile. The King persuades her to take back the ring and to stay and assist the next king, Chulalongkorn. The dying man tells Anna to take dictation from the prince, and instructs the boy to give orders as if he were King. The prince orders the end of the custom of kowtowing that Anna hated. The King grudgingly accepts this decision. As Chulalongkorn continues, prescribing a less arduous bow to show respect for the king, his father dies. Anna kneels by the late King, holding his hand and kissing it, as the wives and children bow or curtsey, a gesture of respect to old king and new.
Principal roles and notable performers
Musical numbers
Act I
Overture – Orchestra
"I Whistle a Happy Tune" – Anna and Louis
"My Lord and Master" – Tuptim
"Hello, Young Lovers" – Anna
"March of the Royal Siamese Children" – Orchestra
"A Puzzlement" – King
"The Royal Bangkok Academy" – Anna, Wives and Children
"Getting to Know You" – Anna, Wives and Children
"We Kiss in a Shadow" – Tuptim and Lun Tha
"A Puzzlement" (reprise) – Louis and Prince Chulalongkorn
"Shall I Tell You What I Think of You?" – Anna
"Something Wonderful" – Lady Thiang
"Buddhist Prayer"/Act I finale – King and Company
Act II
Entr'acte – Orchestra
"Western People Funny" – Lady Thiang and Wives
"I Have Dreamed" – Tuptim and Lun Tha
"Hello, Young Lovers" (reprise) – Anna
"The Small House of Uncle Thomas" (Ballet) – Tuptim and Wives
"Song of the King" – King and Anna
"Shall We Dance?" – Anna and the King
"I Whistle a Happy Tune" (reprise) – Anna
"Something Wonderful" (reprise, finale ultimo) – Orchestra
Productions
Original productions
The King and I opened on Broadway on March 29, 1951, with a wide expectation of a hit by the press and public. Both Hammerstein and Rodgers professed to be worried. The composer complained that most people were not concerned about whether the show was good, but whether it was better than South Pacific. Even the weather cooperated: heavy rain in New York stopped in time to allow the mostly wealthy or connected opening night audience to arrive dry at the St. James Theatre. Margaret Landon, author of the book on which the musical was based, was not invited to opening night.
Brynner turned in an outstanding performance that night, nearly stealing the show. Lawrence knew that the company was nervous because of her illnesses. The director, John van Druten, described how her opening night performance put all worries to rest: "She came on the stage with a new and dazzling quality, as if an extra power had been granted to the brilliance of her stage light. She was radiant and wonderful." The rave reviews in the newspapers lifted Lawrence's spirits, and she expected a lengthy run as Anna, first on Broadway, then in London's West End, and finally on film. Lawrence won a Tony Award for her leading role, while Brynner won the award for best featured actor. The show won the Tony for best musical, and designers Mielziner and Sharaff received awards in their categories.
De Lappe remembered the contrast between Lawrence's indifferent singing voice and the force of her performance:
Lawrence's death and aftermath
Lawrence had not yet discovered that she was nearing death from liver cancer, and her weakened condition was exacerbated by the demands of her role. At the age of 52, she was required to wear dresses weighing while walking or dancing a total of during a 3½ hour performance eight times a week. Lawrence found it hard to bear the heat in the theatre during the summer months. Her understudy, Constance Carpenter, began to replace her in matinees. Later in the year Lawrence's strength returned, and she resumed her full schedule, but by Christmas she was battling pleurisy and suffering from exhaustion. She entered the hospital for a full week of tests. Just nine months before her death, the cancer still was not detected. In February 1952, bronchitis felled her for another week, and her husband Richard Aldrich asked Rodgers and Hammerstein if they would consider closing the show for Easter week to give her a chance to recover fully. They denied his request, but agreed to replace her with the original Ado Annie from Oklahoma!, Celeste Holm, for six weeks during the summer. Meanwhile, Lawrence's performances were deteriorating, prompting audiences to become audibly restive. Rodgers and Hammerstein prepared a letter, never delivered, advising her that "eight times a week you are losing the respect of 1,500 people". On August 16, 1952, she fainted following a matinee performance and was admitted to the NewYork–Presbyterian Hospital. She slipped into a coma and died on September 6, 1952, at the age of 54. Her autopsy revealed liver cancer. On the day of her funeral, the performance of The King and I was cancelled. The lights of Broadway and the West End were dimmed because of her death, and she was buried in the ball gown she wore during Act 2.
Carpenter assumed the role of Anna and went on to play it for 620 performances. Other Annas during the run included Holm, Annamary Dickey and Patricia Morison. Although Brynner later boasted of never missing a show, he missed several, once when stagehands at the St. James Theatre accidentally struck him in the nose with a piece of scenery, another time due to appendicitis. Also, for three months in 1952 (and occasionally in 1953), Alfred Drake replaced Brynner. One young actor, Sal Mineo, began as an extra, then became an understudy for a younger prince, then an understudy and later a replacement for Crown Prince Chulalongkorn. Mineo began a close friendship and working relationship with Brynner which would last for more than a decade. Another replacement was Terry Saunders as Lady Thiang. She reprised the role in the 1956 film. The last of the production's 1,246 performances was on March 20, 1954. The run was, at the time, the fourth longest ever for a Broadway musical. A U.S. national tour began on March 22, 1954, at the Community Theatre, Hershey, Pennsylvania, starring Brynner and Morison. The tour played in 30 cities, closing on December 17, 1955, at the Shubert Theatre, Philadelphia.
The original London production opened on October 8, 1953, at the Theatre Royal, Drury Lane, and was warmly received by both audiences and critics; it ran for 946 performances. The show was restaged by Jerome Whyte. The cast featured Valerie Hobson, in her last role, as Anna; Herbert Lom as the King; and Muriel Smith as Lady Thiang. Martin Benson played the Kralahome, a role he reprised in the film. Eve Lister was a replacement for Hobson, and George Pastell replaced Lom during the long run. The New York Times theatre columnist Brooks Atkinson saw the production with Lister and Pastell, and thought the cast commonplace, except for Smith, whom he praised both for her acting and her voice. Atkinson commented, "The King and I is a beautifully written musical drama on a high plane of human thinking. It can survive in a mediocre performance."
The musical was soon premiered in Australia, Japan, and throughout Europe.
Early revivals
The first revival of The King and I in New York was presented by the New York City Center Light Opera Company in April and May 1956 for three weeks, starring Jan Clayton and Zachary Scott, directed by John Fearnley, with Robbins' choreography recreated by June Graham. Muriel Smith reprised her London role of Lady Thiang, and Patrick Adiarte repeated his film role, Chulalongkorn. This company presented the musical again in May 1960 with Barbara Cook and Farley Granger, again directed by Fearnley, in another three-week engagement. Atkinson admired the purity of Cook's voice and thought that she portrayed Anna with "a cool dignity that gives a little more stature to the part than it has had before." He noted that Granger brought "a fresh point of view – as well as a full head of hair". Joy Clements played Tuptim, and Anita Darian was Lady Thiang. City Center again presented the show in June 1963, starring Eileen Brennan and Manolo Fabregas, directed by Fearnley. Clements and Darian reprised Tuptim and Thiang respectively. In the final City Center Light Opera production, Michael Kermoyan played the King opposite Constance Towers for three weeks in May 1968. Darian again played Lady Thiang. For all of these 1960s productions, Robbins' choreography was reproduced by Yuriko, who had played the role of Eliza in the original Broadway production and reprised the role in the City Center productions.
The Music Theatre of Lincoln Center, with Rodgers as producer, presented the musical in mid-1964 at the New York State Theater, starring Risë Stevens and Darren McGavin, with Michael Kermoyan as the Kralahome. Lun Tha, Tuptim and Thiang were played by Frank Porretta, Lee Venora and Patricia Neway. Costumes were by Irene Sharaff, the designer for the original productions and the film adaptation. The director was Edward Greenberg, with the Robbins choreography again reproduced by Yuriko. This was Music Theatre's debut production, a five-week limited engagement.
The King and I was revived at London's Adelphi Theatre on October 10, 1973, running for 260 performances until May 25, 1974, starring Sally Ann Howes as Anna and Peter Wyngarde as the King. Roger Redfarn directed, and Sheila O'Neill choreographed. The production, which began in June 1973 with a tour of the English provinces, earned mixed to warm reviews. Michael Billington in The Guardian called the revival "well played and well sung". Although he was enthusiastic about Howes as Anna, Billington thought Wyngarde "too fragile to be capable of inspiring unholy terror". He praised Redfarn's production – "whipped along at a good pace and made a sumptuous eyeful out of the interpolated ballet on 'Uncle Tom's Cabin'." Less favorably, Robert Cushman in The Observer thought the production "scenically and economically under-nourished". He liked Wyngarde's King ("a dignified clown") but thought Howes not formidable enough to stand up to him as Anna. He noted that "she sings beautifully and the songs are the evening's real justification".
Brynner reprises the role
In early 1976, Brynner received an offer from impresarios Lee Gruber and Shelly Gross to star, in the role that he had created 25 years before, in a U.S. national tour and Broadway revival. The tour opened in Los Angeles on July 26, 1976, with Constance Towers reprising the role of Anna. On opening night, Brynner suffered so badly from laryngitis that he lip-synched, with his son Rock singing and speaking the role from the orchestra pit. The production traveled across the United States, selling out every city it appeared in and finally opening in New York at the Uris Theatre (today the Gershwin Theatre) on May 2, 1977. The production featured Martin Vidnovic as Lun Tha, and Susan Kikuchi danced the part of Eliza, recreating the role that her mother, Yuriko, had originated. Yuriko both directed the production and recreated the Robbins choreography. Sharaff again designed costumes, and Michael Kermoyan reprised the role of the Kralahome, while June Angela was Tuptim. The run lasted 696 performances, almost two years, during which each of the stars took off three weeks, with Angela Lansbury replacing Towers and Kermoyan replacing Brynner. The production was nominated for the Drama Desk Award for Outstanding Musical.
Brynner insisted on renovations to the Uris before he would play there, stating that the theatre resembled "a public toilet". He also insisted that dressing rooms on the tour and at the Uris be arranged to his satisfaction. According to his biographer Michelangelo Capua, for years afterwards, performers thanked Brynner for having backstage facilities across the country cleaned up. New York Times reviewer Clive Barnes said of the revival, "The cast is a good one. Mr. Brynner grinning fire and snorting charm is as near to the original as makes little difference" and called Towers "piquantly ladylike and sweet without being dangerously saccharine". However, fellow Times critic Mel Gussow warned, later in the run, that "to a certain extent [Brynner] was coasting on his charisma".
The tour was extended in 1979, after the New York run, still starring Brynner and Towers. The production then opened in the West End, at the London Palladium, on June 12, 1979, and was reported to have the largest advance sale in English history. Brynner stated, "It is not a play, it is a happening." Virginia McKenna starred in London as Anna, winning an Olivier Award for her performance. June Angela again played Tuptim, and John Bennett was the Kralahome. It ran until September 27, 1980.
Brynner took only a few months off after the London run ended, which contributed to his third divorce; he returned to the road in early 1981 in an extended U.S. tour of the same production, which eventually ended on Broadway. Mitch Leigh produced and directed, and Robbins' choreography was reproduced by Rebecca West, who also danced the role of Simon of Legree, which she had danced at the Uris in 1977. Patricia Marand played Anna, Michael Kermoyan was again the Kralahome, Patricia Welch was Tuptim. During 1981, Kate Hunter Brown took over as Anna, continuing in the role for at least a year and a half. By 1983, Mary Beth Peil was playing Anna. On September 13, 1983, in Los Angeles, Brynner celebrated his 4,000th performance as the King; on the same day he was privately diagnosed with inoperable lung cancer, and the tour had to shut down for a few months while he received painful radiation therapy to shrink the tumor. The Washington Post reviewer saw Brynner's "absolutely last farewell tour" in December 1984 and wrote of the star:
The production reached New York in January 1985, running for 191 performances at the Broadway Theatre, with Brynner, Peil, Welch and West still playing their roles. The part of Eliza was played by the leading man's fourth wife, Kathy Lee Brynner, and newcomer Jeffrey Bryan Davis played Louis. During the run, Brynner was unable to sing "A Puzzlement", due to what was announced as a throat and ear infection, but he "projected bursting vitality to the top of the balcony." He received a special Tony Award for his role as the King and had come to dominate the musical to such an extent that Peil was nominated merely for a featured actress Tony as Anna. Leigh was nominated for a Tony for his direction. New York Times critic Frank Rich praised Brynner but was ambivalent about the production, which he called "sluggish", writing that Brynner's "high points included his fond, paternalistic joshing with his brood in 'The March of the Siamese Children,' his dumb-show antics while attempting to force the English schoolteacher Anna to bow, and, of course, the death scene. ... The star aside, such showmanship is too often lacking in this King and I." The last performance was a special Sunday night show, on June 30, 1985, in honor of Brynner and his 4,625th performance of the role. Brynner died less than four months later, on October 10, 1985.
From August 1989 to March 1990, Rudolf Nureyev played the King in a North American tour opposite Liz Robertson, with Kermoyan as the Kralahome, directed by Arthur Storch and with the original Robbins choreography. Reviews were uniformly critical, lamenting that Nureyev failed to embody the character, "a King who stands around like a sulky teenager who didn't ask to be invited to this party. ... Not even his one dance number ... goes well. ... Rodgers and Hammerstein's King [is] supposed to be a compelling personality [but Nureyev's] bears no resemblance to the man described ... in the "Something Wonderful" number. The show therefore comes across as something of a charade ... with everyone pretending to be dealing with a fearsome potentate who, in fact, is displaying very little personality at all."
Renshaw's production: 1991 to 2003
The first major revival to break away from the original staging and interpretation was an Australian production directed by Christopher Renshaw, starring Hayley Mills as Anna, in 1991. Renshaw pointedly ignored the printed stage directions in the script when reshaping the piece into what he called "an authentic Thai experience". The production had a more sinister Siamese setting, a less elegant but more forceful Anna, and a younger King (Tony Marinyo). The attraction between Anna and the King was made explicit. Renshaw "cut a few lines and lyrics, and translated others into Thai to reinforce the atmosphere of a foreign land", and all Asian roles were played by Asian actors. He also asked choreographers Lar Lubovitch and Jerome Robbins to create a "spiritual" ballet, for the King's entrance in Act 1, and a procession with a sacred white elephant in Act II. According to Renshaw, "The reds and golds were very much inspired by what we saw at the royal palace", and set and costume elements reflected images, architecture and other designs in the palace and elsewhere in Bangkok. For example, the stage was framed by columns of elephant figures, a large emerald Buddha loomed over Act I, and hundreds of elephant images were woven into the set. Renshaw said, "The elephant is regarded as a very holy creature ... they believe the spirit of Buddha often resides in the form of the elephant."
Stanley Green, in his Encyclopedia of the Musical Theatre, viewed the central theme of The King and I as "the importance of mutual understanding between people of differing ethnic and cultural backgrounds", but Renshaw felt the musical suffered from 1950s attitudes when "Orientalism was used as an exoticism rather than a real understanding of the particular culture." He stated that his production was informed by authentic Thai cultural, aesthetic and religious ideas that he learned from visiting Thailand. A feature in Playbill commented that the production focused on the "clash of ideologies and cultures, of East versus West". Theatre arts professor Eileen Blumenthal, however, called the production "a King and I for the age of political correctness". While she acknowledged that the musical's treatment of Asian cultures had come to be viewed as insensitive over the decades since its premiere, she argued that Rodgers and Hammerstein's script was more sensitive than most orientalist literature of its day, in that "West learns from East as well as the other way around", and that, moreover, the musical's treatment of its Asian subject is fantastical, not intended to be realistic. She concluded that the show is a documentary of "who we've been" in the West, and that The King and I should not be suppressed, because it is "too good".
The production was reproduced on Broadway, opening on April 11, 1996, at the Neil Simon Theatre, starring Donna Murphy as Anna, who won a Tony Award for her performance, and Lou Diamond Phillips as the King, with Randall Duk Kim as the Kralahome, Jose Llana as Lun Tha, Joohee Choi as Tuptim and Taewon Yi Kim as Lady Thiang. Jenna Ushkowitz made her Broadway debut as one of the children. The production was nominated for eight Tony Awards, winning best revival and three others, with acting nominations for Phillips and Choi, who each won Theatre World Awards, and seven Drama Desk Awards, winning for Outstanding Revival of a Musical; Renshaw won for his direction. The production was praised for "lavish ... sumptuous" designs by Roger Kirk (costumes) and Brian Thomson (sets), who both won Tony and Drama Desk Awards for their work. Faith Prince played the role of Anna later in the run, followed by Marie Osmond. The revival ran on Broadway for 780 performances, and Kevin Gray replaced Phillips. The production then toured in the U.S., starring Mills and Victor Talmadge. Other Annas on this tour included Osmond, Sandy Duncan, Stefanie Powers and Maureen McGovern, who ended the tour in Chicago in June 1998.
The production opened on May 3, 2000, at the London Palladium, directed by Renshaw and choreographed by Lubovitch, and using the Kirk and Thomson designs. It reportedly took in £8 million in advance ticket sales. The cast included Elaine Paige as Anna and Jason Scott Lee as the King, with Sean Ghazi as Luan Tha and Ho Yi as the Kralahome. Lady Thiang was, again, played by Taewon Yi Kim, of whom The Observer wrote, "Her 'Something Wonderful' was just that." The show was nominated for an Olivier Award for outstanding musical. Later in the run, Lee was replaced as the King by Paul Nakauchi. The revival was generally well received. The Daily Mirror said: "The King and I waltzed back to the West End in triumph last night." The Daily Express observed, "Love it or loathe it, The King and I is an unstoppable smash." Variety, however, noted a lack of chemistry between the leads, commenting that "there’s something not entirely right in Siam when the greatest applause is reserved for Lady Thiang". Replacements included Josie Lawrence as Anna, Keo Woolford as the King and Saeed Jaffrey as the Kralahome. The show closed on January 5, 2002. It toured the UK in 2002 and 2003, with Stefanie Powers and then Marti Webb as Anna and Ronobir Lahiri as the King.
2004 to present
Another U.S. national tour began in mid-2004, directed by Baayork Lee (who appeared in the original production at age 5), with choreography by Susan Kikuchi, reproducing the Robbins original. Sandy Duncan again starred as Anna, while Martin Vidnovic played the King. He had played Lun Tha in the 1977 Broadway production and voiced the King in the 1999 animated film. Stefanie Powers took over for Duncan throughout 2005. Near the end of the tour in November 2005, Variety judged that Lee had successfully "harnessed the show's physical beauty and its intrinsic exotic flavor."
Jeremy Sams directed, and Kikuchi choreographed, a limited engagement of the musical in June 2009 at the Royal Albert Hall in London. It starred Maria Friedman and Daniel Dae Kim. A U.K. national tour starred Ramon Tikaram as the King and Josefina Gabrielle as Anna, directed by Paul Kerryson, with choreography by David Needham. It opened in December 2011 in Edinburgh and continued into May 2012.
In June 2014, Théâtre du Châtelet in Paris presented an English-language production of The King and I directed by Lee Blakeley and starring Susan Graham, who was "close to perfection as Anna", Lambert Wilson, "also excellent as the king", and Lisa Milne as Lady Thiang. The New York Times called it "a grand new staging that has set French critics searching for superlatives." The Renshaw production was revived again in April 2014 by Opera Australia for performances in Sydney, Melbourne and Brisbane, directed by Renshaw and featuring Lisa McCune and Teddy Tahu Rhodes. Some critics questioned anew the portrayal of the Siamese court as barbaric and asked why a show where "the laughs come from the Thai people mis-understanding British ... culture" should be selected for revival.
A fourth Broadway revival began previews on March 12 and opened on April 16, 2015 at the Vivian Beaumont Theater. The production was directed by Bartlett Sher and starred Kelli O'Hara as Anna and Ken Watanabe, as the King, in his American stage debut. It featured Ruthie Ann Miles as Lady Thiang, Paul Nakauchi as the Kralahome, Ashley Park as Tuptim, Conrad Ricamora as Lun Tha, Jake Lucas as Louis Leonowens, and Edward Baker-Duly as Sir Edward Ramsey. Choreography by Christopher Gattelli was based on the original Jerome Robbins dances. The designers included Michael Yeargan (sets), Catherine Zuber (costumes) and Donald Holder (lighting). Reviews were uniformly glowing, with Ben Brantley of The New York Times calling it a "resplendent production", praising the cast (especially O'Hara), direction, choreographer, designs and orchestra, and commenting that Sher "sheds a light [on the vintage material] that isn't harsh or misty but clarifying [and] balances epic sweep with intimate sensibility." The production was nominated for nine Tony Awards, winning four, including Best Revival of a Musical, Best Leading Actress (for O'Hara), Best Featured Actress (for Miles) and best costume design (for Zuber), and won the Drama Desk Award for Outstanding Revival. Replacements for the King included Jose Llana Hoon Lee and Daniel Dae Kim. Replacements for Anna included Marin Mazzie. The revival closed on June 26, 2016 after 538 performances. A U.S. national tour of the production began in November 2016. The cast included Laura Michelle Kelly as Anna, Llana as the King and Joan Almedilla as Lady Thiang. The production was reproduced at the London Palladium from June through September 2018. O'Hara and Watanabe reprised their roles, with Naoko Mori and Ruthie Ann Miles sharing the role of Lady Thiang, Na-Young Jeon as Tuptim, Dean John-Wilson as Lun Tha and Takao Osawa as the Kralahome. The production was nominated for 6 Laurence Olivier Awards, including Best Musical Revival. The production was filmed and shown in theatres in late 2018.
The King and I continues to be a popular choice for productions by community theatres, school and university groups, summer camps and regional theatre companies.
Adaptations
The musical was filmed in 1956 with Brynner re-creating his role opposite Deborah Kerr. The film was nominated for nine Academy Awards and won five, including Best Actor for Brynner, with Kerr nominated for Best Actress. Sharaff won for best costume design. The film was directed by Walter Lang (who was also nominated for an Oscar) and choreographed by Robbins. Marni Nixon dubbed the singing voice of Anna, and Rita Moreno played Tuptim. Saunders as Thiang, Adiarte as Chulalongkorn and Benson as the Kralahome reprised their stage roles, as did dancers Yuriko and de Lappe. Alan Mowbray appeared in the new role of the British Ambassador, while Sir Edward Ramsey (demoted to the Ambassador's aide) was played by Geoffrey Toone. The movie's script was faithful to the stage version, although it cut a few songs; reviews were enthusiastic. Thomas Hischak, in his The Rodgers and Hammerstein Encyclopedia, states: "It is generally agreed that the [movie] is the finest film adaptation of any R & H musical". Thai officials judged the film offensive to their monarchy and banned both film and musical in 1956.
A non-musical 1972 TV comedy series, starring Brynner, was broadcast in the U.S. by CBS but was cancelled in mid-season after 13 episodes. It followed the main storyline of the musical, focusing on the relationship between the title characters. Samantha Eggar played "Anna Owens", with Brian Tochi as Chulalongkorn, Keye Luke as the Kralahome, Eric Shea as Louis, Lisa Lu as Lady Thiang, and Rosalind Chao as Princess Serena. The first episode aired on September 17, 1972, and the last aired on December 31, 1972. Margaret Landon was unhappy with this series and charged the producers with "inaccurate and mutilated portrayals" of her literary property; she unsuccessfully sued for copyright infringement.
Jerome Robbins' Broadway was a Broadway revue, directed by Robbins, showcasing scenes from some of his most popular earlier works on Broadway. The show ran from February 1989 to September 1990 and won six Tony Awards, including best musical. It featured "Shall We Dance" and "The Small House of Uncle Thomas" ballet, with Kikuchi as Eliza. Yuriko was the choreographic "reconstruction assistant".
Rich Animation Studios, Morgan Creek Productions and Warner Bros. Pictures released a 1999 animated film adaptation of the musical. Except for using some of the songs and characters, the story is unrelated to the Rodgers and Hammerstein version. Geared towards children, the adaptation includes cuddly animals, including a dragon. Voices were provided by Miranda Richardson as Anna (speaking), Christiane Noll as Anna (singing), Martin Vidnovic as the King, Ian Richardson as the Kralahome and Adam Wylie as Louis. Hischak dislikes the film but praises the vocals, adding that one compensation of the film is hearing Barbra Streisand sing a medley of "I Have Dreamed", "We Kiss in a Shadow" and "Something Wonderful", which is borrowed from Streisand's 1985 The Broadway Album and played under the film's closing credits. He expressed surprise "that the Rodgers & Hammerstein Organization allowed it to be made" and noted that "children have enjoyed The King and I for five decades without relying on dancing dragons". Ted Chapin, president of that organization, has called the film his biggest mistake in granting permission for an adaptation.
Music and recordings
Musical treatment
In his music, Rodgers sought to give some of the music an Asian flavor. This is exhibited in the piercing major seconds that frame "A Puzzlement", the flute melody in "We Kiss in a Shadow", open fifths, the exotic 6/2 chords that shape "My Lord and Master", and in some of the incidental music. The music for "The Small House of Uncle Thomas" was for the most part written not by Rodgers, but by dance music arranger Trude Rittmann, though "Hello, Young Lovers" and a snatch of "A Puzzlement" are quoted within it.
Before Rodgers and Hammerstein began writing together, the AABA form for show tunes was standard, but many of the songs in The King and I vary from it. "I Have Dreamed" is an almost continuous repetition of variations on the same theme, until the ending, when it is capped by another melody. The first five notes (an eighth note triplet and two half notes) of "Getting to Know You" also carry the melody all the way through the refrain. According to Mordden, this refusal to accept conventional forms "is one reason why their frequently heard scores never lose their appeal. They attend to situation and they unveil character, but also, they surprise you."
According to Rodgers' biographer William Hyland, the score for The King and I is much more closely tied to the action than that of South Pacific, "which had its share of purely entertaining songs". For example, the opening song, "I Whistle a Happy Tune", establishes Anna's fear upon entering a strange land with her small son, but the merry melody also expresses her determination to keep a stiff upper lip. Hyland calls "Hello, Young Lovers" an archetypical Rodgers ballad: simple, with only two chords in the first eight bars, but moving in its directness.
Recordings
The original cast recording of The King and I was released by Decca Records in 1951. While John Kenrick admires it for the performances of the secondary couple, Larry Douglas and Doretta Morrow, and for the warmth of Lawrence's performance, he notes that "Shall We Dance" was abridged, and there are no children's voices – the chorus in "Getting to Know You" is made up of adults. In 2000, the recording was inducted into the Grammy Hall of Fame. Later in the same year Patrice Munsel and Robert Merrill made the first studio recording of selections from the musical. Hischak comments that in the 1953 London cast album, Valerie Hobson's vocals were no stronger than Lawrence's and that the highlight is Muriel Smith's "Something Wonderful" in a disc with too many cuts. He calls Anna's songs "well served" by Marni Nixon's singing in the 1956 film soundtrack and judges the recording as vocally satisfying; Kenrick describes it as a "mixed bag": he is pleased that it includes several songs cut from the film, and he praises Nixon's vocals, but he dislikes the supporting cast and suggests watching the movie instead for its visual splendor.
Kenrick prefers the 1964 Lincoln Center cast recording to the earlier ones, especially approving of the performances of Risë Stevens as Anna and Patricia Neway as Lady Thiang. The recording, for the first time, included the narrated ballet music for "The Small House of Uncle Thomas". Because a single LP limited a single-disc album to about fifty minutes, its inclusion required the absence of some of the other numbers. Kenrick finds the recording of the 1977 Broadway revival cast to be "[e]asily the most satisfying King & I on CD". He judges it to be Brynner's best performance, calling Towers "great" and Martin Vidnovic, June Angela and the rest of the supporting cast "fabulous", though lamenting the omission of the ballet. Hischak, in contrast, says that some might prefer Brynner in his earlier recordings, when he was "more vibrant". Kenrick enjoys the 1992 Angel studio recording mostly for the Anna of Julie Andrews, who he says is "pure magic" in a role she never performed on stage. Kenrick praises the performance of both stars on the 1996 Broadway revival recording, calling Lou Diamond Phillips "that rarity, a King who can stand free of Brynner's shadow". Hischak finds the soundtrack to the 1999 animated film with Christiane Noll as Anna and Martin Vidnovic as the King, as well as Barbra Streisand singing on one track, more enjoyable than the movie itself, but Kenrick writes that his sole use for that CD is as a coaster.
Critical reception
Opening night reviews of the musical were strongly positive. Richard Watts in the New York Post termed it "[a]nother triumph for the masters". Critic John Mason Brown stated, "They have done it again." The New York Times drama critic Brooks Atkinson wrote: "This time Messrs. Rodgers and Hammerstein are not breaking any fresh trails, but they are accomplished artists of song and words in the theater; and The King and I is a beautiful and lovable musical play." Barely less enthusiastic was John Lardner in The New Yorker, who wrote, "Even those of us who find [the Rodgers and Hammerstein musicals] a little too unremittingly wholesome are bound to take pleasure in the high spirits and technical skill that their authors, and producers, have put into them." Otis Guernsey wrote for the New York Herald Tribune, "Musicals and leading men will never be the same after last night ... Brynner set an example that will be hard to follow ... Probably the best show of the decade.
The balance of opinion among the critics of the original London production was generally favorable, with a few reservations. In The Observer, Ivor Brown predicted that the piece would "settle down for some years at Drury Lane." The anonymous critic of The Times compared the work to Gilbert and Sullivan: "Mr. Rodgers charmingly echoes Sullivan in the king's more topsy-turvy moments; and Mr. Hammerstein attends very skilfully to the lurking Gilbertian humour." Less favorably, in the Daily Express, John Barber called the work "this treacle-bin Mikado", and declared that only one of the cast, Muriel Smith, could really sing.
In 1963, New York Times reviewer Lewis Funke said of the musical, "Mr. Hammerstein put all of his big heart into the simple story of a British woman's adventures, heartaches, and triumphs. ... A man with a world-view, he seized the opportunity provided by [Landon's book] to underscore his thoughts on the common destiny of humanity." Fourteen years later, another Times reviewer, Clive Barnes, called the musical "unsophisticated and untroubled. Even its shadows are lightened with a laugh or a sweetly sentimental tear ... we can even be persuaded to take death as a happy ending".
The reworked 1996 Broadway production received mixed reviews. Vincent Canby of The New York Times disliked it: "This latest King and I might look like a million dollars as a regional production; on Broadway ... it's a disappointment. The score remains enchanting but, somewhere along the line, there has been a serious failure of the theatrical imagination." But Liz Smith enthused: "The King and I is perfect"; and the Houston Chronicle wrote, of the subsequent tour, "The King and I is the essence of musical theater, an occasion when drama, music, dance and decor combine to take the audience on an unforgettable journey." Critic Richard Christiansen in the Chicago Tribune observed, of a 1998 tour stop at the Auditorium Theatre: "Written in a more leisurely and innocent and less politically correct period, [The King and I] cannot escape the 1990s onus of its condescending attitude toward the pidgin English monarch and his people. And its story moves at a pace that's a mite too slow for this more hurried day and age." When the production reached London in 2000, however, it received uniformly positive reviews; the Financial Times called it "a handsome, spectacular, strongly performed introduction to one of the truly great musicals".
The 2015 Broadway revival initially received uniformly glowing reviews. Ben Brantley of The New York Times called it a "resplendent production" and commented:
Marilyn Stasio, in Variety, termed the production "sumptuous" and "absolutely stunning". She noted a "still pertinent theme: the dissonant dynamic when Western civilization tries to assert its values on ancient Eastern cultures." In USA Today, Elysa Gardner wrote of the grins and tears evoked by the production. "[W]atching these people from vastly different cultures carefully but joyfully reach for common ground ... can be almost unbearably moving. ... [Rodgers and Hammerstein's] textured humanity and appeals for tolerance, like their shimmering scores, only gain resonance as time passes." The production's attempts to achieve historical accuracy and explore the work's dark themes with a modern sensibility led some reviewers to conclude that it succeeds at converting the musical's orientalism into "a modern critique of racism and sexism". Other commentators, however, such as composer Mohammed Fairouz, argued that an attempt at sensitivity in production cannot compensate for "the inaccurate portrayal of the historic King Mongkut as a childlike tyrant and the infantilization of the entire Siamese population of the court", which demonstrate a racist subtext in the piece, even in 1951 when it was written. Benjamin Ivry opined that "the Rodgers and Hammerstein organization should shelve the [musical] as a humanitarian gesture toward Southeast Asian history and art".
Fifty years after its premiere, Rodgers biographer Meryle Secrest summed up the musical:
References
Bibliography
Block, Geoffrey (ed.) The Richard Rodgers Reader. New York: Oxford University Press (US), 2006. .
Bloom, Ken and Vlastnik, Frank. Broadway Musicals: The 101 Greatest Shows of All Time. New York: Black Dog & Leventhal Publishers, 2004. .
Capua, Michelangelo. Yul Brynner: A Biography, Jefferson, N.C.: McFarland & Co. Inc., 2006; .
Fordin, Hugh. Getting to Know Him: A Biography of Oscar Hammerstein II. Jefferson, N.C.: Da Capo Press, 1995 reprint of 1986 edition. .
Green, Stanley. "Encyclopedia of the Musical Theatre. Jefferson, N.C.: Da Capo Press, 1980. .
Hammerstein, Oscar Andrew. The Hammersteins: A Musical Theatre Family. New York: Black Dog & Leventhal Publishers, 2010. .
Hischak, Thomas S. The Rodgers and Hammerstein Encyclopedia. Westport, Conn.: Greenwood Publishing Group, 2007. .
Hyland, William G. Richard Rodgers. New Haven, Conn.: Yale University Press, 1998. .
Ma, Sheng-mei. "Rodgers and Hammerstein's 'Chopsticks' musicals". Literature/Film Quarterly, Vol. 31, Number 1 (2003), pp. 17–26.
Mordden, Ethan. Rodgers & Hammerstein. New York: Harry N. Abrams, Inc., 1992. .
Morgan, Susan. Bombay Anna: The Real Story and Remarkable Adventures of the King and I Governess, Berkeley, Cal.: University of California Press, 2008; .
Morley, Sheridan, Gertrude Lawrence. New York: McGraw-Hill, 1981. .
Nolan, Frederick. The Sound of Their Music: The Story of Rodgers and Hammerstein. Cambridge, Mass.: Applause Theatre and Cinema Books, 2002. .
Secrest, Meryle. Somewhere for Me: A Biography of Richard Rodgers. Cambridge, Mass.: Applause Theatre and Cinema Books, 2001. .
Further reading
Rodgers, Richard. Musical Stages: An Autobiography. Jefferson, N.C. Da Capo Press, 2002 reprint of 1975 edition. .
Ponti, Carla. The Musical Representation of Asian Characters in the Musicals of Richard Rodgers, University of California: San Diego, 2010.
External links
Performance at the 2015 Tony Awards
The King and I
1951 musicals
Broadway musicals
Buddhism in fiction
Drama Desk Award-winning musicals
Grammy Hall of Fame Award recipients
Monarchy in fiction
Musicals based on novels
Musicals by Rodgers and Hammerstein
Plays set in the 19th century
Polygamy in fiction
Thailand in fiction
Tony Award for Best Musical
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"Kheow Sundarakul na Jolburi (complete title Chao Chom Manda Kheow Sundarakul na Jolburi, Royal Concubine of King Nangklao \"Rama III\" of Siam), () was a daughter of His Highness Prince Reuang, the Prince Sundarabhubet(), but she did not inherit a title of princess from her prince father.\n\nShe moved to the Grand Palace to be a royal Concubine of King Nangklao with the royal title Chao Chom (Royal Concubine). She gave birth to a prince and a princess.\n\nSee also \n Sundarakul na Jolburi\n\nReferences\n พระราชประวัติพระบาทสมเด็จพระนั่งเกล้าเจ้าอยู่หัว และพระราชสกุล กระทู้ในพันทิป.คอม - Biography of King Rama and Rachskul, topicstock.pantip.com. (in Thai)\n ราชสกุลในพระบาทสมเด็จพระนั่งเกล้าเจ้าอยู่หัว - Biography of King Rama I and Rachskul, bloggang.com (in Thai)\n\nYear of birth missing\nYear of death missing\nKheow Sundarakul na Jolburi\nKheow Sundarakul na Jolburi",
"Nangklao (, ; 31 March 1788 – 2 April 1851), birth name Thap (), also styled Rama III, was the third king of Siam under the House of Chakri, ruling from 21 July 1824 to 2 April 1851.\n\nNangklao was the eldest surviving son of his predecessor, king Rama II. His mother Sri Sulalai was one of the king's secondary wives. Nangklao was likely designated as heir by his father, his accession was uncontested and smoothly confirmed by the grand council. Foreign observers, however, falsely perceived him as having usurped the prior claim of his half-brother Prince Mongkut, who was younger, but born to queen Sri Suriyendra and thus \"legitimate\" according to Western customs. Under the old concept of Thai monarchy, however, a proper king must emulate Maha Sammata in that he must be \"elected by the people.\" Ironically, Prince Mongkut may have later contributed to this misconception, when he feared that his own accession might be perceived by foreign observers as a usurpation.\n\nDuring Nangklao's reign, the military hegemony of Siam was established by putting down the Laotian Rebellion (1826–1828, in what would come to be called Isan), the Siamese–Vietnamese War (1831–34), and the Siamese-Vietnamese War fought in Cambodia (1841–45).\n\nEarly life\nKing Nangklao was born as Prince Thap in 1788 to Prince Isarasundhorn and one of his royal wives Chao Chom Manda Riam, who came from a Muslim noble family from the south. Following Isarasundhorn's coronation (posthumously known as Phutthaloetla Naphalai, or Rama II) in 1809, Prince Kshatriyanuchit (Mom Men), the surviving son of Taksin, revolted as pretender to the throne. Prince Thap was assigned to suppress the rebellion, which he did. Praised by his father for his competence, Prince Thap was given the Sanskrit-derived title Chetsadabodin, raised to the bureaucratic rank of Kromma Muen, and served his father as Kromma Tha (minister of trade and foreign affairs.) As Kromma Tha, he developed proficiency in foreign trade, and developed an affection for Chinese goods and culture. Temples he later had constructed were characterized by Chinese influence. After a private audience in 1822, Crawfurd wrote of the Prince Krom-chiat that, \"he seemed certainly to maintain the character assigned to him in public estimation, of being the most intelligent of all the princes and chiefs of the Siamese Court.\" The Portuguese Consul stated that the Prince had offered him a large sum of money, if he would translate from the French into the Portuguese language a history of the wars of Napoleon, for the purpose of being rendered into Siamese through the Christian interpreters.\n\nSuccession\nAs the prince administered trade affairs, his half-brother Prince Mongkut pursued the way of religion, becoming a monk in 1824. In that year, Phutthaloetla Naphalai died suddenly without having named a successor to viceroy Maha Senanurak, who had died 16 July 1817. According to the traditions of royal succession, the viceroy or uparaja was heir presumptive. If there were none, then an ad hoc senabodi consisting of senior officials present at the death of a king, would elect a successor. Foreign observers accustomed to the concept of an heir apparent expected Prince Mongkut, as the a son of the queen, to ascend to the throne. However, the assembled Senabodi considered Prince Chetsadabodin a more competent choice as he had served the king in Kromma Tha for years. Support came strongly from high-ranking nobility, including Chao Phraya Abhay Pudhorn, the Samuha Nayok, and Dis Bunnag then Minister of Kromma Tha, and other Bunnag family members.\n\nChetsadabodin accepted the throne and was crowned in 1824. He raised his mother, Riam, to Princess Mother Sri Suralai. He appointed his uncle, Sakdiphonlasep, viceroy on 21 July 1824 – who predeceased the king 1 May 1832, leading to yet another succession crisis. He did not name his reign, but was posthumously awarded the name Nangklao by Mongkut, who had in the interim remained in ecclesiastic status to avoid the intrigues of royal politics.\n\nWestern contacts\n\nThe reign of Nangklao (as he was posthumously known) saw the renewal of Western contacts. In 1822, British East India Company agent John Crawfurd's mission to Siam laid the groundwork for a British request for Siamese support in the First Anglo-Burmese War, which broke out in 1824. Nangklao provided fleets and elephants to rush through Burmese forests. He also sent Siamese armies to participate in the invasion of Burma since the British promised Siam the conquered lands. Phraya Chumporn ordered the forced migration of Mergui (a common practice in Southeast Asia regarding the newly-conquered lands), which had been conquered by the British. The British were frustrated at Phraya Chumporn's actions, and hostilities were heightened. Nangklao ordered the Siamese armies to leave to avoid further conflict.\n\nIn 1825, Henry Burney arrived to negotiate peace agreements. The Burney Treaty was the first treaty with the West in the Rattanakosin period. Its purpose was to established free trade in Siam and to greatly reduce taxation on foreign trading ships. That it accomplished the objectives is disputed.\n\nIn 1833, US President Andrew Jackson's \"special agent\" and envoy Edmund Roberts, referring often to Crawfurd's account, concluded the Siamese–American Treaty of Amity and Commerce, signed at the Royal City of Sia-Yut'hia (Bangkok) on 20 March, the last of the fourth month of the year 1194 CS (Chula Sakarat). This treaty, with later modifications, is still in force. Dan Beach Bradley, an American physician and prominent Western personality of the time, introduced printing and vaccination.\n\nAnouvong insurgency \n\nThe three Laotian kingdoms (Lan Xang in Vientiane, Luang Prabang, and Champasak) became Siamese tributary states after Chao Phraya Maha Kshatriyaseuk (King Rama I, Nangklao's grandfather) had conquered them in 1778. Anouvong, the son of the king of Vientiene, was taken to Bangkok as a captive. He spent nearly thirty years in Siam and joined the Siamese forces in wars with Burma. In 1805, Anouvong returned to Vientiane to be crowned as the king.\n\nIn 1824, Phutthaloetla Naphalai died and, in the following year, Siam was dragged into conflicts with the British Empire. Anouvong saw this as an opportunity to wield his power. In 1825, returning from the funeral of Phutthaloetla Naphalai in Bangkok, Anouvong assembled a large force and went on the offensive. After defeating Bangkok-vassal principalities along the way, Anouvong captured Korat, the main defensive stronghold of Siam in the northeast. He forced the city to be evacuated while marching to Saraburi, on approach to the capital, Bangkok. However, the Korat captives rebelled—said to have been at the instigation of Lady Mo, wife of a ruling noble of Korat—although this claim is countered by many historians who say Mo had no heroic role in the events at Tung Samrit, though a contemporary account did mention her action. As Bangkok gathered counterattacking troops, Anouvong withdrew to return to Vientiane.\n\nNangklao sent his uncle Maha Sakdi Polsep the Front Palace and Sing Singhaseni (at the time styled Phraya Ratchasuphawadi) to defeat the armies of Anouvong in Isan. Anouvong was defeated and fled to Vietnam. The Siamese captured Vientiane and ordered the evacuation of the city.\n\nIn 1827, Nangklao ordered the total destruction of Vientiane. Anouvong returned to Laos with Vietnamese forces. Ratchasuphawadi led the Siamese to fight and the engagements occurred at Nong Khai. Anouvong was defeated again and, after an attempt to flee, was captured. Vientiane was razed, extinguishing her 200 year reign, and ceased to be a kingdom. Anouvong was imprisoned in an iron cage in front of the Suthaisawan Hall and died in 1829.\n\nVietnam and Cambodia\n\nIn 1810, internal conflicts between Cambodian princes forced Ang Im and Ang Duong to flee to Bangkok. Otteyraja of Cambodia turned to Gia Long of Vietnam for support against the opposing princes. However, this was perceived by Siam as treacherous as the two countries had fought for centuries for control of Cambodia.\n\nIn 1833, the Lê Văn Khôi revolt against Minh Mạng broke out in Vietnam. Lê Văn Khôi, the rebel leader, sought Siamese aid. Nangklao intended to take this opportunity to install a pro-Siamese monarch on the Cambodian throne.\n\nPhraya Ratchasuphawadi, who had been promoted to Chao Phraya Bodindecha, was ordered to capture Saigon. Dis Bunnag, the Minister of Kromma Tha, commanded a fleet to rendezvous with ground forces at Saigon. The two Cambodian princes, Ang Im and Ang Duong, also joined the expedition. Bodindecha took Udongk and the fleet took Bantey Mas. The fleet proceeded to Saigon but was repelled.\n\nBodindecha then took Phnom Penh and again invaded Vietnam by land in 1842. In 1845, the Vietnamese recaptured Phnom Penh, but Bodindecha was able to defend Udongk. In 1847, prompted by Emperor Thiệu Trị's treatment of Christian missionaries, French forces invaded Vietnam. A cessation of hostilities with Siam was negotiated. Ang Duong was installed as the Cambodian monarch under the equal patronage of both Siam and Vietnam, thus ending the war.\n\nRevolt of Kedah\nIn 1837, Krom Somdet Phra Sri Suralai, mother of Nangklao, died. All officials throughout the kingdom went to Bangkok to attend the funeral. At Syburi (Kedah of Malaysia now), without the presence of Siamese governors, a nephew of the Sultan of Kedah then staged a revolt. Nangklao then sent Tat Bunnag down south to subjugate the rebellion quickly in 1838. Tat then suggested an autonomous government for Kedah Sultanate. In 1839, Kedah was divided into four autonomous parts.\n\nReligious devotion and Educational Reforms\nNangklao was famous for his Buddhist faith. He fed the poor each day after becoming prince, and released animals every monastery day. More than 50 temples were built and repaired in his reign, including the first Chinese style temple at Rajorasa, the highest stupa at Wat Arun, the Golden Mountain at Wat Saket, the metal temple at Wat Ratchanadda, and Chetupol Temple or Wat Pho. Wat Pho is the site of the first university in Thailand. Under his reign, King Rama III was also responsible for the writing of the Chindamanee textbook and also the revision of the Buddhist textbook the Tripitaka which was to be distributed throughout the kingdom. In addition to that Rama III also allowed monks to use castles as classrooms for the teaching of Buddhism.\n\nDeath and legacy\n\nNangklao died on 2 April 1851 without having named a successor. He had 51 children including sons, but had raised none of his consorts to the queen. The throne passed to his half-brother, Prince Mongkut.\n\nNangklao stated on his deathbed that \"Our wars with Burma and Vietnam were over, only the threats of the Westerners was left to us. We should study their innovations for our own benefits but not to the degree of obsession or worship.\" This vision coincided with Western intervention in Siam in the reign of Mongkut. He was able to predict, but not live to see the neighboring kingdoms of Burma and Vietnam fall to European colonial rule.\n\nDuring his reign, trade between Siam and China became lucrative. The king kept his profits in red purses beside his bed, subsequently this money was known as \"red purse money\". Nangklao stipulated that the red purse money that he had earned through his business acumen should be set aside as the state's emergency fund for the future \"so that Siam would be able to buy the land back\" if it fell into a squabble with a foreign power. In the reign of his nephew Chulalongkorn, Siam indeed had to pay reparations to France for the 1893 Paknam incident during the Franco–Siamese War), and funding in part came from Nangklao's red purse money.\n\nIn memoriam\n\n Thai baht 15th Series banknotes issued to draw attention to deeds of Chakri Dynasty monarchs in agriculture, science, religion and finance, depicted King Rama III on the reverse of the 500 baht banknote issued 3 August 2001, with a partial quotation of his deathbed statement below a Chinese sailing ship.\n A statue of Rama III was dedicated in the front of Wat Ratchanatdaram.\n Phra Nang Klao Hospital is a hospital in Nonthaburi Province bearing his name\n Phra Nang Klao Bridge is a bridge across the Chao Phraya River in Nonthaburi Province bearing his name, with the Phra Nang Klao Bridge MRT station.\n Maha Chesadabodindranusorn Bridge is a bridge across the Chao Phraya River in Nonthaburi Province bearing his title.\n\nAncestry\n\nSee also\n\n List of people with the most children\n\nReferences\n\nExternal links\nhttp://www.thailandguidebook.com/provinces/bangkok.html\n\nRama 03\nThai people of Malay descent\nThai people of Mon descent\nRama 03\n1787 births\n1851 deaths\n18th-century Chakri dynasty\n19th-century Chakri dynasty\nThai Buddhists\n1820s in Siam\n1830s in Siam\n1840s in Siam\n1850s in Siam\n19th-century monarchs in Asia\nThai diplomats\nThai male Phra Ong Chao\nThai male Mom Chao\n18th-century Thai people\n19th-century Thai people"
]
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[
"The King and I",
"Historical background",
"whats the historical background of the king",
"Mongkut, King of Siam, was about 57 years old in 1861. He had lived half his life as a Buddhist monk,",
"when did he become king",
"When Nangklao died in 1850, Mongkut became king.",
"how did nangklao die",
"I don't know."
]
| C_a7100cea58f5442e87cf4742cef4a56f_1 | what did the king do | 4 | What did the king of Siam do? | The King and I | Mongkut, King of Siam, was about 57 years old in 1861. He had lived half his life as a Buddhist monk, was an able scholar, and founded a new order of Buddhism and a temple in Bangkok (paid for by his half-brother, King Nangklao). Through his decades of devotion, Mongkut acquired an ascetic lifestyle and a firm grasp of Western languages. When Nangklao died in 1850, Mongkut became king. At that time, various European countries were striving for dominance, and American traders sought greater influence in Southeast Asia. He ultimately succeeded in keeping Siam an independent nation, partly by familiarizing his heirs and harem with Western ways. In 1861, Mongkut wrote to his Singapore agent, Tan Kim Ching, asking him to find a British lady to be governess to the royal children. At the time, the British community in Singapore was small, and the choice fell on a recent arrival there, Anna Leonowens (1831-1915), who was running a small nursery school in the colony. Leonowens was the Anglo-Indian daughter of an Indian Army soldier and the widow of Thomas Owens, a clerk and hotel keeper. She had arrived in Singapore two years previously, claiming to be the genteel widow of an officer and explaining her dark complexion by stating that she was Welsh by birth. Her deception was not detected until long after her death, and had still not come to light when The King and I was written. Upon receiving the King's invitation, Leonowens sent her daughter, Avis, to school in England, to give Avis the social advantage of a prestigious British education, and traveled to Bangkok with her five-year-old son, Louis. King Mongkut had sought a Briton to teach his children and wives after trying local missionaries, who used the opportunity to proselytize. Leonowens initially asked for $150 in Singapore currency per month. Her additional request, to live in or near the missionary community to ensure she was not deprived of Western company, aroused suspicion in Mongkut, who cautioned in a letter, "we need not have teacher of Christianity as they are abundant here". King Mongkut and Leonowens came to an agreement: $100 per month and a residence near the royal palace. At a time when most transport in Bangkok was by boat, Mongkut did not wish to have to arrange for the teacher to get to work every day. Leonowens and Louis temporarily lived as guests of Mongkut's prime minister, and after the first house offered was found to be unsuitable, the family moved into a brick residence (wooden structures decayed quickly in Bangkok's climate) within walking distance of the palace. In 1867, Leonowens took a six-month leave of absence to visit her daughter Avis in England, intending to deposit Louis at a school in Ireland and return to Siam with Avis. However, due to unexpected delays and opportunities for further travel, Leonowens was still abroad in late 1868, when Mongkut fell ill and died. Leonowens did not return to Siam, although she continued to correspond with her former pupil, the new king Chulalongkorn. CANNOTANSWER | He ultimately succeeded in keeping Siam an independent nation, partly by familiarizing his heirs and harem with Western ways. | The King and I is the fifth musical by the team of Rodgers and Hammerstein. It is based on Margaret Landon's novel, Anna and the King of Siam (1944), which is in turn derived from the memoirs of Anna Leonowens, governess to the children of King Mongkut of Siam in the early 1860s. The musical's plot relates the experiences of Anna, a British schoolteacher who is hired as part of the King's drive to modernize his country. The relationship between the King and Anna is marked by conflict through much of the piece, as well as by a love to which neither can admit. The musical premiered on March 29, 1951, at Broadway's St. James Theatre. It ran for nearly three years, making it the fourth-longest-running Broadway musical in history at the time, and has had many tours and revivals.
In 1950, theatrical attorney Fanny Holtzmann was looking for a part for her client, veteran leading lady Gertrude Lawrence. Holtzmann realized that Landon's book would provide an ideal vehicle and contacted Rodgers and Hammerstein, who were initially reluctant but agreed to write the musical. The pair initially sought Rex Harrison to play the supporting part of the King, a role he had played in the 1946 film made from Landon's book, but he was unavailable. They settled on the young actor and television director Yul Brynner.
The musical was an immediate hit, winning Tony Awards for Best Musical, Best Actress (for Lawrence) and Best Featured Actor (for Brynner). Lawrence died unexpectedly of cancer a year and a half after the opening, and the role of Anna was played by several actresses during the remainder of the Broadway run of 1,246 performances. A hit London run and U.S. national tour followed, together with a 1956 film for which Brynner won an Academy Award, and the musical was recorded several times. In later revivals, Brynner came to dominate his role and the musical, starring in a four-year national tour culminating in a 1985 Broadway run shortly before his death.
Christopher Renshaw directed major revivals on Broadway (1996), winning the Tony Award for Best Revival, and in the West End (2000). A 2015 Broadway revival won another Tony for Best Revival. Both professional and amateur revivals of The King and I continue to be staged regularly throughout the English-speaking world.
Historical background
Mongkut, King of Siam, was about 57 years old in 1861. He had lived half his life as a Buddhist monk, was an able scholar, and founded a new order of Buddhism and a temple in Bangkok (paid for by his half-brother, King Nangklao). Through his decades of devotion, Mongkut acquired an ascetic lifestyle and a firm grasp of Western languages. When Nangklao died in 1850, Mongkut became king. At that time, various European countries were striving for dominance, and American traders sought greater influence in Southeast Asia. He ultimately succeeded in keeping Siam an independent nation, partly by familiarizing his heirs and harem with Western ways.
In 1861, Mongkut wrote to his Singapore agent, Tan Kim Ching, asking him to find a British lady to be governess to the royal children. At the time, the British community in Singapore was small, and the choice fell on a recent arrival there, Anna Leonowens (1831–1915), who was running a small nursery school in the colony. Leonowens was the Anglo-Indian daughter of an Indian Army soldier and the widow of Thomas Owens, a clerk and hotel keeper. She had arrived in Singapore two years previously, claiming to be the genteel widow of an officer and explaining her dark complexion by stating that she was Welsh by birth. Her deception was not detected until long after her death, and had still not come to light when The King and I was written.
Upon receiving the King's invitation, Leonowens sent her daughter, Avis, to school in England, to give Avis the social advantage of a prestigious British education, and traveled to Bangkok with her five-year-old son, Louis. King Mongkut had sought a Briton to teach his children and wives after trying local missionaries, who used the opportunity to proselytize. Leonowens initially asked for $150 in Singapore currency per month. Her additional request, to live in or near the missionary community to ensure she was not deprived of Western company, aroused suspicion in Mongkut, who cautioned in a letter, "we need not have teacher of Christianity as they are abundant here". King Mongkut and Leonowens came to an agreement: $100 per month and a residence near the royal palace. At a time when most transport in Bangkok was by boat, Mongkut did not wish to have to arrange for the teacher to get to work every day. Leonowens and Louis temporarily lived as guests of Mongkut's prime minister, and after the first house offered was found to be unsuitable, the family moved into a brick residence (wooden structures decayed quickly in Bangkok's climate) within walking distance of the palace.
In 1867, Leonowens took a six-month leave of absence to visit her daughter Avis in England, intending to deposit Louis at a school in Ireland and return to Siam with Avis. However, due to unexpected delays and opportunities for further travel, Leonowens was still abroad in late 1868, when Mongkut fell ill and died. Leonowens did not return to Siam, although she continued to correspond with her former pupil, the new king Chulalongkorn.
Creation
In 1950, British actress Gertrude Lawrence's business manager and attorney, Fanny Holtzmann, was looking for a new vehicle for her client when the 1944 Margaret Landon novel Anna and the King of Siam (a fictionalized version of Leonowens' experiences) was sent to her by Landon's agent. According to Rodgers biographer Meryle Secrest, Holtzmann was worried that Lawrence's career was fading. The 51-year-old actress had appeared only in plays, not in musicals, since Lady in the Dark closed in 1943. Holtzmann agreed that a musical based on Anna and the King of Siam would be ideal for her client, who purchased the rights to adapt the novel for the stage.
Holtzmann initially wanted Cole Porter to write the score, but he declined. She was going to approach Noël Coward next, but happened to meet Dorothy Hammerstein (Oscar's wife) in Manhattan. Holtzmann told Dorothy Hammerstein that she wanted Rodgers and Hammerstein to create a show for Lawrence, and asked her to see that her husband read a book that Holtzmann would send over. In fact, both Dorothy Rodgers and Dorothy Hammerstein had read the novel in 1944 and had urged their husbands to consider it as a possible subject for a musical. Dorothy Hammerstein had known Gertrude Lawrence since 1925, when they had both appeared in André Charlot's London Revue of 1924 on Broadway and on tour in North America.
Rodgers and Hammerstein had disliked Landon's novel as a basis for a musical when it was published, and their views still held. It consists of vignettes of life at the Siamese court, interspersed with descriptions of historical events unconnected with each other, except that the King creates most of the difficulties in the episodes, and Anna tries to resolve them. Rodgers and Hammerstein could see no coherent story from which a musical could be made until they saw the 1946 film adaptation, starring Irene Dunne and Rex Harrison, and how the screenplay united the episodes in the novel. Rodgers and Hammerstein were also concerned about writing a star vehicle. They had preferred to make stars rather than hire them, and engaging the legendary Gertrude Lawrence would be expensive. Lawrence's voice was also a worry: her limited vocal range was diminishing with the years, while her tendency to sing flat was increasing. Lawrence's temperament was another concern: though she could not sing like one, the star was known to be capable of diva-like behavior. In spite of this, they admired her acting – what Hammerstein called her "magic light", a compelling presence on stage – and agreed to write the show. For her part, Lawrence committed to remaining in the show until June 1, 1953, and waived the star's usual veto rights over cast and director, leaving control in the hands of the two authors.
Hammerstein found his "door in" to the play in Landon's account of a slave in Siam writing about Abraham Lincoln. This would eventually become the narrated dance, "The Small House of Uncle Thomas". Since a frank expression of romantic feelings between the King and Anna would be inappropriate in view of both parties' upbringing and prevailing social mores, Hammerstein wrote love scenes for a secondary couple, Tuptim, a junior wife of the King, and Lun Tha, a scholar. In the Landon work, the relationship is between Tuptim and a priest, and is not romantic. The musical's most radical change from the novel was to have the King die at the end of the musical. Also, since Lawrence was not primarily a singer, the secondary couple gave Rodgers a chance to write his usual "soaring" romantic melodies. In an interview for The New York Times, Hammerstein indicated that he wrote the first scene before leaving for London and the West End production of Carousel in mid-1950; he wrote a second scene while in the British capital.
The pair had to overcome the challenge of how to represent Thai speech and music. Rodgers, who had experimented with Asian music in his short-lived 1928 musical with Lorenz Hart titled Chee-chee, did not wish to use actual Thai music, which American audiences might not find accessible. Instead, he gave his music an exotic flavor, using open fifths and chords in unusual keys, in ways pleasant to Western ears. Hammerstein faced the problem of how to represent Thai speech; he and Rodgers chose to convey it by musical sounds, made by the orchestra. For the King's style of speech, Hammerstein developed an abrupt, emphatic way of talking, which was mostly free of articles, as are many East Asian languages. The forceful style reflected the King's personality and was maintained even when he sang, especially in his one solo, "A Puzzlement". Many of the King's lines, including his first utterance, "Who? Who? Who?", and much of the initial scene between him and Anna, are drawn from Landon's version. Nevertheless, the King is presented more sympathetically in the musical than in the novel or the 1946 film, as the musical omits the torture and burning at the stake of Lady Tuptim and her partner.
With Rodgers laid up with back trouble, Hammerstein completed most of the musical's book before many songs were set to music. Early on, Hammerstein contacted set designer Jo Mielziner and costume designer Irene Sharaff and asked them to begin work in coordination with each other. Sharaff communicated with Jim Thompson, an American who had revived the Thai silk industry after World War II. Thompson sent Sharaff samples of silk cloth from Thailand and pictures of local dress from the mid-19th century. One such picture, of a Thai woman in western dress, inspired the song "Western People Funny", sung by the King's chief wife, Lady Thiang, while dressed in western garb.
Producer Leland Hayward, who had worked with the duo on South Pacific, approached Jerome Robbins to choreograph a ballet for "The Small House of Uncle Thomas". Robbins was very enthusiastic about the project and asked to choreograph the other musical numbers as well, although Rodgers and Hammerstein had originally planned little other dancing. Robbins staged "The Small House of Uncle Thomas" as an intimate performance, rather than a large production number. His choreography for the parade of the King's children to meet their teacher ("March of the Royal Siamese Children") drew great acclaim. Robert Russell Bennett provided the orchestrations, and Trude Rittmann arranged the ballet music.
The pair discussed having an Act 1 musical scene involving Anna and the King's wives. The lyrics for that scene proved to be very difficult for Hammerstein to write. He first thought that Anna would simply tell the wives something about her past, and wrote such lyrics as "I was dazzled by the splendor/Of Calcutta and Bombay" and "The celebrities were many/And the parties very gay/(I recall a curry dinner/And a certain Major Grey)." Eventually, Hammerstein decided to write about how Anna felt, a song which would not only explain her past and her motivation for traveling with her son to the court of Siam, but also serve to establish a bond with Tuptim and lay the groundwork for the conflict that devastates Anna's relationship with the King. "Hello, Young Lovers", the resulting song, was the work of five exhausting weeks for Hammerstein. He finally sent the lyrics to Rodgers by messenger and awaited his reaction. Hammerstein considered the song his best work and was anxious to hear what Rodgers thought of it, but no comment came from Rodgers. Pride kept Hammerstein from asking. Finally, after four days, the two happened to be talking on the phone about other matters, and at the end of the conversation, Rodgers stated, very briefly, that the lyric was fine. Josh Logan, who had worked closely with Hammerstein on South Pacific, listened to the usually unflappable writer pour out his unhappy feelings. It was one of the few times that Hammerstein and Rodgers did not display a united front.
Casting and auditions
Although the part of the King was only a supporting role to Lawrence's Anna, Hammerstein and Rodgers thought it essential that a well-known theatrical actor play it. The obvious choice was Rex Harrison, who had played the King in the movie, but he was booked, as was Noël Coward. Alfred Drake, the original Curly in Oklahoma!, made contractual demands which were deemed too high. With time running short before rehearsals, finding an actor to play the King became a major concern. Mary Martin, the original Nellie Forbush in South Pacific, suggested that her co-star in a 1946 musical set in China, Lute Song, try for the role. Rodgers recounted the audition of the Russian-American performer, Yul Brynner:
Brynner termed Rodgers' account "very picturesque, but totally inaccurate". He recalled that as an established television director (in CBS's Starlight Theatre, for example), he was reluctant to go back on the stage. His wife, his agent and Martin finally convinced him to read Hammerstein's working script, and once he did, he was fascinated by the character of the King and was eager to do the project. In any case, Brynner's fierce, mercurial, dangerous, yet surprisingly sensitive King was an ideal foil for Lawrence's strong-willed, yet vulnerable Anna, and when the two finally came together in "Shall We Dance?", where the King hesitantly touches Anna's waist, the chemistry was palpable.
Pre-rehearsal preparations began in late 1950. Hammerstein had wanted Logan to direct and co-write the book, as he had for South Pacific, but when Logan declined, Hammerstein decided to write the entire book himself. Instead of Logan, the duo hired as director John van Druten, who had worked with Lawrence years earlier. The costume designer, Sharaff, wryly pointed the press to the incongruity of a Victorian British governess in the midst of an exotic court: "The first-act finale of The King and I will feature Miss Lawrence, Mr. Brynner, and a pink satin ball gown." Mielziner's set plan was the simplest of the four Rodgers and Hammerstein musicals he had worked on, with one main set (the throne room), a number of front-stage drops (for the ship and Anna's room, for example) and the entire stage cleared for "The Small House of Uncle Thomas".
The show was budgeted at $250,000 (US$ in dollars) making it the most expensive Rodgers and Hammerstein production to that point, and prompting some mockery that costs exceeded even their expensive flop Allegro. Investors included Hammerstein, Rodgers, Logan, Martin, Billy Rose and Hayward. The children who were cast as the young princes and princesses came from a wide range of ethnic backgrounds, including Puerto Rican or Italian, though none were Thai. Johnny Stewart was the original Prince Chulalongkorn but left the cast after only three months, replaced by Ronnie Lee. Sandy Kennedy was Louis, and Broadway veteran Larry Douglas played Lun Tha.
Shortly before rehearsals began in January 1951, Rodgers had the first Tuptim, Doretta Morrow, sing the entire score to Lawrence, including Lawrence's own songs. Lawrence listened calmly, but when she met Rodgers and Hammerstein the following day, she treated Rodgers coldly, apparently seeing the composer's actions as flaunting her vocal deficiencies. Hammerstein and Rodgers' doubts about whether Lawrence could handle the part were assuaged by the sheer force of her acting. James Poling, a writer for Collier's who was allowed to attend the rehearsals, wrote of Lawrence preparing "Shall I Tell You What I Think of You?":
At his first meeting with Sharaff, Brynner, who had only a fringe of hair, asked what he was to do about it. When told he was to shave it, Brynner was horror-struck and refused, convinced he would look terrible. He finally gave in during tryouts and put dark makeup on his shaved head. The effect was so well-received that it became Brynner's trademark.
Lawrence's health caused her to miss several rehearsals, though no one knew what was wrong with her. When the tryout opened in New Haven, Connecticut on February 27, 1951, the show was nearly four hours long. Lawrence, suffering from laryngitis, had missed the dress rehearsal but managed to make it through the first public performance. The Variety critic noted that despite her recent illness she "slinks, acts, cavorts, and in general exhibits exceedingly well her several facets for entertaining", but the Philadelphia Bulletin printed that her "already thin voice is now starting to wear a great deal thinner". Leland Hayward came to see the show in New Haven and shocked Rodgers by advising him to close it before it went any further. Additionally, when the show left New Haven for Boston for more tryout performances, it was still at least 45 minutes too long. Gemze de Lappe, who was one of the dancers, recalled one cut that she regretted:
This song, "Waiting", was a trio for Anna, the King, and the Kralahome (the King's prime minister). "Who Would Refuse?", the Kralahome's only solo, was also dropped. Left without a note to sing, Mervyn Vye abandoned the show and was replaced by John Juliano. "Now You Leave", a song for Lady Thiang (played by Dorothy Sarnoff in the original production), was also cut. After the cuts, Rodgers and Hammerstein felt that the first act was lacking something. Lawrence suggested that they write a song for Anna and the children. Mary Martin reminded them of a song that had been cut from South Pacific, "Suddenly Lucky". Hammerstein wrote a new lyric for the melody, and the resulting song became "Getting to Know You". "Western People Funny" and "I Have Dreamed" were also added in Boston.
Brynner regretted that there were not more tryout performances, feeling that the schedule did not give him an adequate opportunity to develop the complex role of the King. When he told this to Hammerstein and Rodgers, they asked what sort of performance they would get from him, and he responded, "It will be good enough, it will get the reviews."
Plot
Act 1
In 1862, a strong-willed, widowed schoolteacher, Anna Leonowens, arrives in Bangkok, Siam (later known as Thailand) at the request of the King of Siam to tutor his many children. Anna's young son, Louis, fears the severe countenance of the King's prime minister, the Kralahome, but Anna refuses to be intimidated ("I Whistle a Happy Tune"). The Kralahome has come to escort them to the palace, where they are expected to live – a violation of Anna's contract, which calls for them to live in a separate house. She considers returning to Singapore aboard the vessel that brought them, but goes with her son and the Kralahome.
Several weeks pass, during which Anna and Louis are confined to their palace rooms. The King receives a gift from the king of Burma, a lovely slave girl named Tuptim, to be one of his many wives. She is escorted by Lun Tha, a scholar who has come to copy a design for a temple, and the two are secretly in love. Tuptim, left alone, declares that the King may own her, but not her heart ("My Lord and Master"). The King gives Anna her first audience. The schoolteacher is a part of his plan for the modernization of Siam; he is impressed when she already knows this. She raises the issue of her house with him, he dismisses her protests and orders her to talk with his wives. They are interested in her, and she tells them of her late husband, Tom ("Hello, Young Lovers"). The King presents her new pupils; Anna is to teach those of his children whose mothers are in favor with him – several dozen – and is to teach their mothers as well. The princes and princesses enter in procession ("March of the Royal Siamese Children"). Anna is charmed by the children, and formality breaks down after the ceremony as they crowd around her.
Anna has not given up on the house, and teaches the children proverbs and songs extolling the virtues of home life, to the King's irritation. The King has enough worries without battling the schoolteacher, and wonders why the world has become so complicated ("A Puzzlement"). The children and wives are hard at work learning English ("The Royal Bangkok Academy"). The children are surprised by a map showing how small Siam is compared with the rest of the world ("Getting to Know You"). As the crown prince, Chulalongkorn, disputes the map, the King enters a chaotic schoolroom. He orders the pupils to believe the teacher but complains to Anna about her lessons about "home". Anna stands her ground and insists on the letter of her contract, threatening to leave Siam, much to the dismay of wives and children. The King orders her to obey as "my servant"; she repudiates the term and hurries away. The King dismisses school, then leaves, uncertain of his next action. Meanwhile, Lun Tha comes upon Tuptim, and they muse about having to hide their relationship ("We Kiss in a Shadow").
In her room, Anna replays the confrontation in her mind, her anger building ("Shall I Tell You What I Think of You?"). Lady Thiang, the King's head wife, tells Anna that the King is troubled by his portrayal in the West as a barbarian, as the British are being urged to take over Siam as a protectorate. Anna is shocked by the accusations – the King is a polygamist, but he is no barbarian – but she is reluctant to see him after their argument. Lady Thiang convinces her that the King is deserving of support ("Something Wonderful"). Anna goes to him and finds him anxious for reconciliation. The King tells her that the British are sending an envoy to Bangkok to evaluate the situation. Anna "guesses" – the only guise in which the King will accept advice – that the King will receive the envoy in European style, and that the wives will be dressed in Western fashion. Tuptim has been writing a play based on a book that Anna has lent her, Uncle Tom's Cabin, that can be presented to the guests. News is brought to the King that the British are arriving much earlier than thought, and so Anna and the wives are to stay up all night to prepare. The King assembles his family for a Buddhist prayer for the success of the venture and also promises before Buddha that Anna will receive her own house "as provided in agreement, etc., etc."
Act 2
The wives are dressed in their new European-style gowns, which they find confining ("Western People Funny"). In the rush to prepare, the question of undergarments has been overlooked, and the wives have practically nothing on underneath their gowns. When the British envoy, Sir Edward Ramsay, arrives and gazes at them through a monocle, they are panicked by the "evil eye" and lift their skirts over their heads as they flee. Sir Edward is diplomatic about the incident. When the King is called away, it emerges that Sir Edward is an old flame of Anna's, and they dance in remembrance of old times, as Edward urges her to return to British society. The King returns and irritably reminds them that dancing is for after dinner.
As final preparations for the play are made, Tuptim steals a moment to meet with Lun Tha. He tells her he has an escape plan, and she should be ready to leave after the performance ("I Have Dreamed"). Anna encounters them, and they confide in her ("Hello, Young Lovers", reprise). The play ("Small House of Uncle Thomas", narrated ballet) is presented in a Siamese ballet-inspired dance. Tuptim is the narrator, and she tells her audience of the evil King Simon of Legree and his pursuit of the runaway slave Eliza. Eliza is saved by Buddha, who miraculously freezes a river and conceals her in snow. Buddha then causes the river to melt, drowning King Simon and his hunting party. The anti-slavery message is blunt.
After the play, Sir Edward reveals that the British threat has receded, but the King is distracted by his displeasure at Tuptim's rebellious message. After Sir Edward leaves, Anna and the King express their delight at how well the evening went, and he presents her with a ring. Secret police report that Tuptim is missing. The King realizes that Anna knows something; she parries his inquiry by asking why he should care: Tuptim is just another woman to him. He is delighted; she is at last understanding the Siamese perspective. Anna tries to explain to him the Western customs of courtship and tells him what it is like for a young woman at a formal dance ("Shall We Dance?"). He demands that she teach him the dance. She does, and in that dance they experience and express a love for each other that they can never speak aloud. They are interrupted by the Kralahome. Tuptim has been captured, and a search is on for Lun Tha. The King resolves to punish Tuptim, though she denies she and Lun Tha were lovers. Anna tries to dissuade him, but he is determined that her influence shall not rule, and he takes the whip himself. He turns to lash Tuptim, but under Anna's gaze is unable to swing the whip, and hurries away. Lun Tha is found dead, and Tuptim is dragged off, swearing to kill herself; nothing more is heard about her. Anna asks the Kralahome to give her ring back to the King; both schoolteacher and minister state their wish that she had never come to Siam.
Several months pass with no contact between Anna and the King. Anna is packed and ready to board a ship leaving Siam. Chulalongkorn arrives with a letter from the King, who has been unable to resolve the conflicts within himself and is dying. Anna hurries to the King's bedside and they reconcile. The King persuades her to take back the ring and to stay and assist the next king, Chulalongkorn. The dying man tells Anna to take dictation from the prince, and instructs the boy to give orders as if he were King. The prince orders the end of the custom of kowtowing that Anna hated. The King grudgingly accepts this decision. As Chulalongkorn continues, prescribing a less arduous bow to show respect for the king, his father dies. Anna kneels by the late King, holding his hand and kissing it, as the wives and children bow or curtsey, a gesture of respect to old king and new.
Principal roles and notable performers
Musical numbers
Act I
Overture – Orchestra
"I Whistle a Happy Tune" – Anna and Louis
"My Lord and Master" – Tuptim
"Hello, Young Lovers" – Anna
"March of the Royal Siamese Children" – Orchestra
"A Puzzlement" – King
"The Royal Bangkok Academy" – Anna, Wives and Children
"Getting to Know You" – Anna, Wives and Children
"We Kiss in a Shadow" – Tuptim and Lun Tha
"A Puzzlement" (reprise) – Louis and Prince Chulalongkorn
"Shall I Tell You What I Think of You?" – Anna
"Something Wonderful" – Lady Thiang
"Buddhist Prayer"/Act I finale – King and Company
Act II
Entr'acte – Orchestra
"Western People Funny" – Lady Thiang and Wives
"I Have Dreamed" – Tuptim and Lun Tha
"Hello, Young Lovers" (reprise) – Anna
"The Small House of Uncle Thomas" (Ballet) – Tuptim and Wives
"Song of the King" – King and Anna
"Shall We Dance?" – Anna and the King
"I Whistle a Happy Tune" (reprise) – Anna
"Something Wonderful" (reprise, finale ultimo) – Orchestra
Productions
Original productions
The King and I opened on Broadway on March 29, 1951, with a wide expectation of a hit by the press and public. Both Hammerstein and Rodgers professed to be worried. The composer complained that most people were not concerned about whether the show was good, but whether it was better than South Pacific. Even the weather cooperated: heavy rain in New York stopped in time to allow the mostly wealthy or connected opening night audience to arrive dry at the St. James Theatre. Margaret Landon, author of the book on which the musical was based, was not invited to opening night.
Brynner turned in an outstanding performance that night, nearly stealing the show. Lawrence knew that the company was nervous because of her illnesses. The director, John van Druten, described how her opening night performance put all worries to rest: "She came on the stage with a new and dazzling quality, as if an extra power had been granted to the brilliance of her stage light. She was radiant and wonderful." The rave reviews in the newspapers lifted Lawrence's spirits, and she expected a lengthy run as Anna, first on Broadway, then in London's West End, and finally on film. Lawrence won a Tony Award for her leading role, while Brynner won the award for best featured actor. The show won the Tony for best musical, and designers Mielziner and Sharaff received awards in their categories.
De Lappe remembered the contrast between Lawrence's indifferent singing voice and the force of her performance:
Lawrence's death and aftermath
Lawrence had not yet discovered that she was nearing death from liver cancer, and her weakened condition was exacerbated by the demands of her role. At the age of 52, she was required to wear dresses weighing while walking or dancing a total of during a 3½ hour performance eight times a week. Lawrence found it hard to bear the heat in the theatre during the summer months. Her understudy, Constance Carpenter, began to replace her in matinees. Later in the year Lawrence's strength returned, and she resumed her full schedule, but by Christmas she was battling pleurisy and suffering from exhaustion. She entered the hospital for a full week of tests. Just nine months before her death, the cancer still was not detected. In February 1952, bronchitis felled her for another week, and her husband Richard Aldrich asked Rodgers and Hammerstein if they would consider closing the show for Easter week to give her a chance to recover fully. They denied his request, but agreed to replace her with the original Ado Annie from Oklahoma!, Celeste Holm, for six weeks during the summer. Meanwhile, Lawrence's performances were deteriorating, prompting audiences to become audibly restive. Rodgers and Hammerstein prepared a letter, never delivered, advising her that "eight times a week you are losing the respect of 1,500 people". On August 16, 1952, she fainted following a matinee performance and was admitted to the NewYork–Presbyterian Hospital. She slipped into a coma and died on September 6, 1952, at the age of 54. Her autopsy revealed liver cancer. On the day of her funeral, the performance of The King and I was cancelled. The lights of Broadway and the West End were dimmed because of her death, and she was buried in the ball gown she wore during Act 2.
Carpenter assumed the role of Anna and went on to play it for 620 performances. Other Annas during the run included Holm, Annamary Dickey and Patricia Morison. Although Brynner later boasted of never missing a show, he missed several, once when stagehands at the St. James Theatre accidentally struck him in the nose with a piece of scenery, another time due to appendicitis. Also, for three months in 1952 (and occasionally in 1953), Alfred Drake replaced Brynner. One young actor, Sal Mineo, began as an extra, then became an understudy for a younger prince, then an understudy and later a replacement for Crown Prince Chulalongkorn. Mineo began a close friendship and working relationship with Brynner which would last for more than a decade. Another replacement was Terry Saunders as Lady Thiang. She reprised the role in the 1956 film. The last of the production's 1,246 performances was on March 20, 1954. The run was, at the time, the fourth longest ever for a Broadway musical. A U.S. national tour began on March 22, 1954, at the Community Theatre, Hershey, Pennsylvania, starring Brynner and Morison. The tour played in 30 cities, closing on December 17, 1955, at the Shubert Theatre, Philadelphia.
The original London production opened on October 8, 1953, at the Theatre Royal, Drury Lane, and was warmly received by both audiences and critics; it ran for 946 performances. The show was restaged by Jerome Whyte. The cast featured Valerie Hobson, in her last role, as Anna; Herbert Lom as the King; and Muriel Smith as Lady Thiang. Martin Benson played the Kralahome, a role he reprised in the film. Eve Lister was a replacement for Hobson, and George Pastell replaced Lom during the long run. The New York Times theatre columnist Brooks Atkinson saw the production with Lister and Pastell, and thought the cast commonplace, except for Smith, whom he praised both for her acting and her voice. Atkinson commented, "The King and I is a beautifully written musical drama on a high plane of human thinking. It can survive in a mediocre performance."
The musical was soon premiered in Australia, Japan, and throughout Europe.
Early revivals
The first revival of The King and I in New York was presented by the New York City Center Light Opera Company in April and May 1956 for three weeks, starring Jan Clayton and Zachary Scott, directed by John Fearnley, with Robbins' choreography recreated by June Graham. Muriel Smith reprised her London role of Lady Thiang, and Patrick Adiarte repeated his film role, Chulalongkorn. This company presented the musical again in May 1960 with Barbara Cook and Farley Granger, again directed by Fearnley, in another three-week engagement. Atkinson admired the purity of Cook's voice and thought that she portrayed Anna with "a cool dignity that gives a little more stature to the part than it has had before." He noted that Granger brought "a fresh point of view – as well as a full head of hair". Joy Clements played Tuptim, and Anita Darian was Lady Thiang. City Center again presented the show in June 1963, starring Eileen Brennan and Manolo Fabregas, directed by Fearnley. Clements and Darian reprised Tuptim and Thiang respectively. In the final City Center Light Opera production, Michael Kermoyan played the King opposite Constance Towers for three weeks in May 1968. Darian again played Lady Thiang. For all of these 1960s productions, Robbins' choreography was reproduced by Yuriko, who had played the role of Eliza in the original Broadway production and reprised the role in the City Center productions.
The Music Theatre of Lincoln Center, with Rodgers as producer, presented the musical in mid-1964 at the New York State Theater, starring Risë Stevens and Darren McGavin, with Michael Kermoyan as the Kralahome. Lun Tha, Tuptim and Thiang were played by Frank Porretta, Lee Venora and Patricia Neway. Costumes were by Irene Sharaff, the designer for the original productions and the film adaptation. The director was Edward Greenberg, with the Robbins choreography again reproduced by Yuriko. This was Music Theatre's debut production, a five-week limited engagement.
The King and I was revived at London's Adelphi Theatre on October 10, 1973, running for 260 performances until May 25, 1974, starring Sally Ann Howes as Anna and Peter Wyngarde as the King. Roger Redfarn directed, and Sheila O'Neill choreographed. The production, which began in June 1973 with a tour of the English provinces, earned mixed to warm reviews. Michael Billington in The Guardian called the revival "well played and well sung". Although he was enthusiastic about Howes as Anna, Billington thought Wyngarde "too fragile to be capable of inspiring unholy terror". He praised Redfarn's production – "whipped along at a good pace and made a sumptuous eyeful out of the interpolated ballet on 'Uncle Tom's Cabin'." Less favorably, Robert Cushman in The Observer thought the production "scenically and economically under-nourished". He liked Wyngarde's King ("a dignified clown") but thought Howes not formidable enough to stand up to him as Anna. He noted that "she sings beautifully and the songs are the evening's real justification".
Brynner reprises the role
In early 1976, Brynner received an offer from impresarios Lee Gruber and Shelly Gross to star, in the role that he had created 25 years before, in a U.S. national tour and Broadway revival. The tour opened in Los Angeles on July 26, 1976, with Constance Towers reprising the role of Anna. On opening night, Brynner suffered so badly from laryngitis that he lip-synched, with his son Rock singing and speaking the role from the orchestra pit. The production traveled across the United States, selling out every city it appeared in and finally opening in New York at the Uris Theatre (today the Gershwin Theatre) on May 2, 1977. The production featured Martin Vidnovic as Lun Tha, and Susan Kikuchi danced the part of Eliza, recreating the role that her mother, Yuriko, had originated. Yuriko both directed the production and recreated the Robbins choreography. Sharaff again designed costumes, and Michael Kermoyan reprised the role of the Kralahome, while June Angela was Tuptim. The run lasted 696 performances, almost two years, during which each of the stars took off three weeks, with Angela Lansbury replacing Towers and Kermoyan replacing Brynner. The production was nominated for the Drama Desk Award for Outstanding Musical.
Brynner insisted on renovations to the Uris before he would play there, stating that the theatre resembled "a public toilet". He also insisted that dressing rooms on the tour and at the Uris be arranged to his satisfaction. According to his biographer Michelangelo Capua, for years afterwards, performers thanked Brynner for having backstage facilities across the country cleaned up. New York Times reviewer Clive Barnes said of the revival, "The cast is a good one. Mr. Brynner grinning fire and snorting charm is as near to the original as makes little difference" and called Towers "piquantly ladylike and sweet without being dangerously saccharine". However, fellow Times critic Mel Gussow warned, later in the run, that "to a certain extent [Brynner] was coasting on his charisma".
The tour was extended in 1979, after the New York run, still starring Brynner and Towers. The production then opened in the West End, at the London Palladium, on June 12, 1979, and was reported to have the largest advance sale in English history. Brynner stated, "It is not a play, it is a happening." Virginia McKenna starred in London as Anna, winning an Olivier Award for her performance. June Angela again played Tuptim, and John Bennett was the Kralahome. It ran until September 27, 1980.
Brynner took only a few months off after the London run ended, which contributed to his third divorce; he returned to the road in early 1981 in an extended U.S. tour of the same production, which eventually ended on Broadway. Mitch Leigh produced and directed, and Robbins' choreography was reproduced by Rebecca West, who also danced the role of Simon of Legree, which she had danced at the Uris in 1977. Patricia Marand played Anna, Michael Kermoyan was again the Kralahome, Patricia Welch was Tuptim. During 1981, Kate Hunter Brown took over as Anna, continuing in the role for at least a year and a half. By 1983, Mary Beth Peil was playing Anna. On September 13, 1983, in Los Angeles, Brynner celebrated his 4,000th performance as the King; on the same day he was privately diagnosed with inoperable lung cancer, and the tour had to shut down for a few months while he received painful radiation therapy to shrink the tumor. The Washington Post reviewer saw Brynner's "absolutely last farewell tour" in December 1984 and wrote of the star:
The production reached New York in January 1985, running for 191 performances at the Broadway Theatre, with Brynner, Peil, Welch and West still playing their roles. The part of Eliza was played by the leading man's fourth wife, Kathy Lee Brynner, and newcomer Jeffrey Bryan Davis played Louis. During the run, Brynner was unable to sing "A Puzzlement", due to what was announced as a throat and ear infection, but he "projected bursting vitality to the top of the balcony." He received a special Tony Award for his role as the King and had come to dominate the musical to such an extent that Peil was nominated merely for a featured actress Tony as Anna. Leigh was nominated for a Tony for his direction. New York Times critic Frank Rich praised Brynner but was ambivalent about the production, which he called "sluggish", writing that Brynner's "high points included his fond, paternalistic joshing with his brood in 'The March of the Siamese Children,' his dumb-show antics while attempting to force the English schoolteacher Anna to bow, and, of course, the death scene. ... The star aside, such showmanship is too often lacking in this King and I." The last performance was a special Sunday night show, on June 30, 1985, in honor of Brynner and his 4,625th performance of the role. Brynner died less than four months later, on October 10, 1985.
From August 1989 to March 1990, Rudolf Nureyev played the King in a North American tour opposite Liz Robertson, with Kermoyan as the Kralahome, directed by Arthur Storch and with the original Robbins choreography. Reviews were uniformly critical, lamenting that Nureyev failed to embody the character, "a King who stands around like a sulky teenager who didn't ask to be invited to this party. ... Not even his one dance number ... goes well. ... Rodgers and Hammerstein's King [is] supposed to be a compelling personality [but Nureyev's] bears no resemblance to the man described ... in the "Something Wonderful" number. The show therefore comes across as something of a charade ... with everyone pretending to be dealing with a fearsome potentate who, in fact, is displaying very little personality at all."
Renshaw's production: 1991 to 2003
The first major revival to break away from the original staging and interpretation was an Australian production directed by Christopher Renshaw, starring Hayley Mills as Anna, in 1991. Renshaw pointedly ignored the printed stage directions in the script when reshaping the piece into what he called "an authentic Thai experience". The production had a more sinister Siamese setting, a less elegant but more forceful Anna, and a younger King (Tony Marinyo). The attraction between Anna and the King was made explicit. Renshaw "cut a few lines and lyrics, and translated others into Thai to reinforce the atmosphere of a foreign land", and all Asian roles were played by Asian actors. He also asked choreographers Lar Lubovitch and Jerome Robbins to create a "spiritual" ballet, for the King's entrance in Act 1, and a procession with a sacred white elephant in Act II. According to Renshaw, "The reds and golds were very much inspired by what we saw at the royal palace", and set and costume elements reflected images, architecture and other designs in the palace and elsewhere in Bangkok. For example, the stage was framed by columns of elephant figures, a large emerald Buddha loomed over Act I, and hundreds of elephant images were woven into the set. Renshaw said, "The elephant is regarded as a very holy creature ... they believe the spirit of Buddha often resides in the form of the elephant."
Stanley Green, in his Encyclopedia of the Musical Theatre, viewed the central theme of The King and I as "the importance of mutual understanding between people of differing ethnic and cultural backgrounds", but Renshaw felt the musical suffered from 1950s attitudes when "Orientalism was used as an exoticism rather than a real understanding of the particular culture." He stated that his production was informed by authentic Thai cultural, aesthetic and religious ideas that he learned from visiting Thailand. A feature in Playbill commented that the production focused on the "clash of ideologies and cultures, of East versus West". Theatre arts professor Eileen Blumenthal, however, called the production "a King and I for the age of political correctness". While she acknowledged that the musical's treatment of Asian cultures had come to be viewed as insensitive over the decades since its premiere, she argued that Rodgers and Hammerstein's script was more sensitive than most orientalist literature of its day, in that "West learns from East as well as the other way around", and that, moreover, the musical's treatment of its Asian subject is fantastical, not intended to be realistic. She concluded that the show is a documentary of "who we've been" in the West, and that The King and I should not be suppressed, because it is "too good".
The production was reproduced on Broadway, opening on April 11, 1996, at the Neil Simon Theatre, starring Donna Murphy as Anna, who won a Tony Award for her performance, and Lou Diamond Phillips as the King, with Randall Duk Kim as the Kralahome, Jose Llana as Lun Tha, Joohee Choi as Tuptim and Taewon Yi Kim as Lady Thiang. Jenna Ushkowitz made her Broadway debut as one of the children. The production was nominated for eight Tony Awards, winning best revival and three others, with acting nominations for Phillips and Choi, who each won Theatre World Awards, and seven Drama Desk Awards, winning for Outstanding Revival of a Musical; Renshaw won for his direction. The production was praised for "lavish ... sumptuous" designs by Roger Kirk (costumes) and Brian Thomson (sets), who both won Tony and Drama Desk Awards for their work. Faith Prince played the role of Anna later in the run, followed by Marie Osmond. The revival ran on Broadway for 780 performances, and Kevin Gray replaced Phillips. The production then toured in the U.S., starring Mills and Victor Talmadge. Other Annas on this tour included Osmond, Sandy Duncan, Stefanie Powers and Maureen McGovern, who ended the tour in Chicago in June 1998.
The production opened on May 3, 2000, at the London Palladium, directed by Renshaw and choreographed by Lubovitch, and using the Kirk and Thomson designs. It reportedly took in £8 million in advance ticket sales. The cast included Elaine Paige as Anna and Jason Scott Lee as the King, with Sean Ghazi as Luan Tha and Ho Yi as the Kralahome. Lady Thiang was, again, played by Taewon Yi Kim, of whom The Observer wrote, "Her 'Something Wonderful' was just that." The show was nominated for an Olivier Award for outstanding musical. Later in the run, Lee was replaced as the King by Paul Nakauchi. The revival was generally well received. The Daily Mirror said: "The King and I waltzed back to the West End in triumph last night." The Daily Express observed, "Love it or loathe it, The King and I is an unstoppable smash." Variety, however, noted a lack of chemistry between the leads, commenting that "there’s something not entirely right in Siam when the greatest applause is reserved for Lady Thiang". Replacements included Josie Lawrence as Anna, Keo Woolford as the King and Saeed Jaffrey as the Kralahome. The show closed on January 5, 2002. It toured the UK in 2002 and 2003, with Stefanie Powers and then Marti Webb as Anna and Ronobir Lahiri as the King.
2004 to present
Another U.S. national tour began in mid-2004, directed by Baayork Lee (who appeared in the original production at age 5), with choreography by Susan Kikuchi, reproducing the Robbins original. Sandy Duncan again starred as Anna, while Martin Vidnovic played the King. He had played Lun Tha in the 1977 Broadway production and voiced the King in the 1999 animated film. Stefanie Powers took over for Duncan throughout 2005. Near the end of the tour in November 2005, Variety judged that Lee had successfully "harnessed the show's physical beauty and its intrinsic exotic flavor."
Jeremy Sams directed, and Kikuchi choreographed, a limited engagement of the musical in June 2009 at the Royal Albert Hall in London. It starred Maria Friedman and Daniel Dae Kim. A U.K. national tour starred Ramon Tikaram as the King and Josefina Gabrielle as Anna, directed by Paul Kerryson, with choreography by David Needham. It opened in December 2011 in Edinburgh and continued into May 2012.
In June 2014, Théâtre du Châtelet in Paris presented an English-language production of The King and I directed by Lee Blakeley and starring Susan Graham, who was "close to perfection as Anna", Lambert Wilson, "also excellent as the king", and Lisa Milne as Lady Thiang. The New York Times called it "a grand new staging that has set French critics searching for superlatives." The Renshaw production was revived again in April 2014 by Opera Australia for performances in Sydney, Melbourne and Brisbane, directed by Renshaw and featuring Lisa McCune and Teddy Tahu Rhodes. Some critics questioned anew the portrayal of the Siamese court as barbaric and asked why a show where "the laughs come from the Thai people mis-understanding British ... culture" should be selected for revival.
A fourth Broadway revival began previews on March 12 and opened on April 16, 2015 at the Vivian Beaumont Theater. The production was directed by Bartlett Sher and starred Kelli O'Hara as Anna and Ken Watanabe, as the King, in his American stage debut. It featured Ruthie Ann Miles as Lady Thiang, Paul Nakauchi as the Kralahome, Ashley Park as Tuptim, Conrad Ricamora as Lun Tha, Jake Lucas as Louis Leonowens, and Edward Baker-Duly as Sir Edward Ramsey. Choreography by Christopher Gattelli was based on the original Jerome Robbins dances. The designers included Michael Yeargan (sets), Catherine Zuber (costumes) and Donald Holder (lighting). Reviews were uniformly glowing, with Ben Brantley of The New York Times calling it a "resplendent production", praising the cast (especially O'Hara), direction, choreographer, designs and orchestra, and commenting that Sher "sheds a light [on the vintage material] that isn't harsh or misty but clarifying [and] balances epic sweep with intimate sensibility." The production was nominated for nine Tony Awards, winning four, including Best Revival of a Musical, Best Leading Actress (for O'Hara), Best Featured Actress (for Miles) and best costume design (for Zuber), and won the Drama Desk Award for Outstanding Revival. Replacements for the King included Jose Llana Hoon Lee and Daniel Dae Kim. Replacements for Anna included Marin Mazzie. The revival closed on June 26, 2016 after 538 performances. A U.S. national tour of the production began in November 2016. The cast included Laura Michelle Kelly as Anna, Llana as the King and Joan Almedilla as Lady Thiang. The production was reproduced at the London Palladium from June through September 2018. O'Hara and Watanabe reprised their roles, with Naoko Mori and Ruthie Ann Miles sharing the role of Lady Thiang, Na-Young Jeon as Tuptim, Dean John-Wilson as Lun Tha and Takao Osawa as the Kralahome. The production was nominated for 6 Laurence Olivier Awards, including Best Musical Revival. The production was filmed and shown in theatres in late 2018.
The King and I continues to be a popular choice for productions by community theatres, school and university groups, summer camps and regional theatre companies.
Adaptations
The musical was filmed in 1956 with Brynner re-creating his role opposite Deborah Kerr. The film was nominated for nine Academy Awards and won five, including Best Actor for Brynner, with Kerr nominated for Best Actress. Sharaff won for best costume design. The film was directed by Walter Lang (who was also nominated for an Oscar) and choreographed by Robbins. Marni Nixon dubbed the singing voice of Anna, and Rita Moreno played Tuptim. Saunders as Thiang, Adiarte as Chulalongkorn and Benson as the Kralahome reprised their stage roles, as did dancers Yuriko and de Lappe. Alan Mowbray appeared in the new role of the British Ambassador, while Sir Edward Ramsey (demoted to the Ambassador's aide) was played by Geoffrey Toone. The movie's script was faithful to the stage version, although it cut a few songs; reviews were enthusiastic. Thomas Hischak, in his The Rodgers and Hammerstein Encyclopedia, states: "It is generally agreed that the [movie] is the finest film adaptation of any R & H musical". Thai officials judged the film offensive to their monarchy and banned both film and musical in 1956.
A non-musical 1972 TV comedy series, starring Brynner, was broadcast in the U.S. by CBS but was cancelled in mid-season after 13 episodes. It followed the main storyline of the musical, focusing on the relationship between the title characters. Samantha Eggar played "Anna Owens", with Brian Tochi as Chulalongkorn, Keye Luke as the Kralahome, Eric Shea as Louis, Lisa Lu as Lady Thiang, and Rosalind Chao as Princess Serena. The first episode aired on September 17, 1972, and the last aired on December 31, 1972. Margaret Landon was unhappy with this series and charged the producers with "inaccurate and mutilated portrayals" of her literary property; she unsuccessfully sued for copyright infringement.
Jerome Robbins' Broadway was a Broadway revue, directed by Robbins, showcasing scenes from some of his most popular earlier works on Broadway. The show ran from February 1989 to September 1990 and won six Tony Awards, including best musical. It featured "Shall We Dance" and "The Small House of Uncle Thomas" ballet, with Kikuchi as Eliza. Yuriko was the choreographic "reconstruction assistant".
Rich Animation Studios, Morgan Creek Productions and Warner Bros. Pictures released a 1999 animated film adaptation of the musical. Except for using some of the songs and characters, the story is unrelated to the Rodgers and Hammerstein version. Geared towards children, the adaptation includes cuddly animals, including a dragon. Voices were provided by Miranda Richardson as Anna (speaking), Christiane Noll as Anna (singing), Martin Vidnovic as the King, Ian Richardson as the Kralahome and Adam Wylie as Louis. Hischak dislikes the film but praises the vocals, adding that one compensation of the film is hearing Barbra Streisand sing a medley of "I Have Dreamed", "We Kiss in a Shadow" and "Something Wonderful", which is borrowed from Streisand's 1985 The Broadway Album and played under the film's closing credits. He expressed surprise "that the Rodgers & Hammerstein Organization allowed it to be made" and noted that "children have enjoyed The King and I for five decades without relying on dancing dragons". Ted Chapin, president of that organization, has called the film his biggest mistake in granting permission for an adaptation.
Music and recordings
Musical treatment
In his music, Rodgers sought to give some of the music an Asian flavor. This is exhibited in the piercing major seconds that frame "A Puzzlement", the flute melody in "We Kiss in a Shadow", open fifths, the exotic 6/2 chords that shape "My Lord and Master", and in some of the incidental music. The music for "The Small House of Uncle Thomas" was for the most part written not by Rodgers, but by dance music arranger Trude Rittmann, though "Hello, Young Lovers" and a snatch of "A Puzzlement" are quoted within it.
Before Rodgers and Hammerstein began writing together, the AABA form for show tunes was standard, but many of the songs in The King and I vary from it. "I Have Dreamed" is an almost continuous repetition of variations on the same theme, until the ending, when it is capped by another melody. The first five notes (an eighth note triplet and two half notes) of "Getting to Know You" also carry the melody all the way through the refrain. According to Mordden, this refusal to accept conventional forms "is one reason why their frequently heard scores never lose their appeal. They attend to situation and they unveil character, but also, they surprise you."
According to Rodgers' biographer William Hyland, the score for The King and I is much more closely tied to the action than that of South Pacific, "which had its share of purely entertaining songs". For example, the opening song, "I Whistle a Happy Tune", establishes Anna's fear upon entering a strange land with her small son, but the merry melody also expresses her determination to keep a stiff upper lip. Hyland calls "Hello, Young Lovers" an archetypical Rodgers ballad: simple, with only two chords in the first eight bars, but moving in its directness.
Recordings
The original cast recording of The King and I was released by Decca Records in 1951. While John Kenrick admires it for the performances of the secondary couple, Larry Douglas and Doretta Morrow, and for the warmth of Lawrence's performance, he notes that "Shall We Dance" was abridged, and there are no children's voices – the chorus in "Getting to Know You" is made up of adults. In 2000, the recording was inducted into the Grammy Hall of Fame. Later in the same year Patrice Munsel and Robert Merrill made the first studio recording of selections from the musical. Hischak comments that in the 1953 London cast album, Valerie Hobson's vocals were no stronger than Lawrence's and that the highlight is Muriel Smith's "Something Wonderful" in a disc with too many cuts. He calls Anna's songs "well served" by Marni Nixon's singing in the 1956 film soundtrack and judges the recording as vocally satisfying; Kenrick describes it as a "mixed bag": he is pleased that it includes several songs cut from the film, and he praises Nixon's vocals, but he dislikes the supporting cast and suggests watching the movie instead for its visual splendor.
Kenrick prefers the 1964 Lincoln Center cast recording to the earlier ones, especially approving of the performances of Risë Stevens as Anna and Patricia Neway as Lady Thiang. The recording, for the first time, included the narrated ballet music for "The Small House of Uncle Thomas". Because a single LP limited a single-disc album to about fifty minutes, its inclusion required the absence of some of the other numbers. Kenrick finds the recording of the 1977 Broadway revival cast to be "[e]asily the most satisfying King & I on CD". He judges it to be Brynner's best performance, calling Towers "great" and Martin Vidnovic, June Angela and the rest of the supporting cast "fabulous", though lamenting the omission of the ballet. Hischak, in contrast, says that some might prefer Brynner in his earlier recordings, when he was "more vibrant". Kenrick enjoys the 1992 Angel studio recording mostly for the Anna of Julie Andrews, who he says is "pure magic" in a role she never performed on stage. Kenrick praises the performance of both stars on the 1996 Broadway revival recording, calling Lou Diamond Phillips "that rarity, a King who can stand free of Brynner's shadow". Hischak finds the soundtrack to the 1999 animated film with Christiane Noll as Anna and Martin Vidnovic as the King, as well as Barbra Streisand singing on one track, more enjoyable than the movie itself, but Kenrick writes that his sole use for that CD is as a coaster.
Critical reception
Opening night reviews of the musical were strongly positive. Richard Watts in the New York Post termed it "[a]nother triumph for the masters". Critic John Mason Brown stated, "They have done it again." The New York Times drama critic Brooks Atkinson wrote: "This time Messrs. Rodgers and Hammerstein are not breaking any fresh trails, but they are accomplished artists of song and words in the theater; and The King and I is a beautiful and lovable musical play." Barely less enthusiastic was John Lardner in The New Yorker, who wrote, "Even those of us who find [the Rodgers and Hammerstein musicals] a little too unremittingly wholesome are bound to take pleasure in the high spirits and technical skill that their authors, and producers, have put into them." Otis Guernsey wrote for the New York Herald Tribune, "Musicals and leading men will never be the same after last night ... Brynner set an example that will be hard to follow ... Probably the best show of the decade.
The balance of opinion among the critics of the original London production was generally favorable, with a few reservations. In The Observer, Ivor Brown predicted that the piece would "settle down for some years at Drury Lane." The anonymous critic of The Times compared the work to Gilbert and Sullivan: "Mr. Rodgers charmingly echoes Sullivan in the king's more topsy-turvy moments; and Mr. Hammerstein attends very skilfully to the lurking Gilbertian humour." Less favorably, in the Daily Express, John Barber called the work "this treacle-bin Mikado", and declared that only one of the cast, Muriel Smith, could really sing.
In 1963, New York Times reviewer Lewis Funke said of the musical, "Mr. Hammerstein put all of his big heart into the simple story of a British woman's adventures, heartaches, and triumphs. ... A man with a world-view, he seized the opportunity provided by [Landon's book] to underscore his thoughts on the common destiny of humanity." Fourteen years later, another Times reviewer, Clive Barnes, called the musical "unsophisticated and untroubled. Even its shadows are lightened with a laugh or a sweetly sentimental tear ... we can even be persuaded to take death as a happy ending".
The reworked 1996 Broadway production received mixed reviews. Vincent Canby of The New York Times disliked it: "This latest King and I might look like a million dollars as a regional production; on Broadway ... it's a disappointment. The score remains enchanting but, somewhere along the line, there has been a serious failure of the theatrical imagination." But Liz Smith enthused: "The King and I is perfect"; and the Houston Chronicle wrote, of the subsequent tour, "The King and I is the essence of musical theater, an occasion when drama, music, dance and decor combine to take the audience on an unforgettable journey." Critic Richard Christiansen in the Chicago Tribune observed, of a 1998 tour stop at the Auditorium Theatre: "Written in a more leisurely and innocent and less politically correct period, [The King and I] cannot escape the 1990s onus of its condescending attitude toward the pidgin English monarch and his people. And its story moves at a pace that's a mite too slow for this more hurried day and age." When the production reached London in 2000, however, it received uniformly positive reviews; the Financial Times called it "a handsome, spectacular, strongly performed introduction to one of the truly great musicals".
The 2015 Broadway revival initially received uniformly glowing reviews. Ben Brantley of The New York Times called it a "resplendent production" and commented:
Marilyn Stasio, in Variety, termed the production "sumptuous" and "absolutely stunning". She noted a "still pertinent theme: the dissonant dynamic when Western civilization tries to assert its values on ancient Eastern cultures." In USA Today, Elysa Gardner wrote of the grins and tears evoked by the production. "[W]atching these people from vastly different cultures carefully but joyfully reach for common ground ... can be almost unbearably moving. ... [Rodgers and Hammerstein's] textured humanity and appeals for tolerance, like their shimmering scores, only gain resonance as time passes." The production's attempts to achieve historical accuracy and explore the work's dark themes with a modern sensibility led some reviewers to conclude that it succeeds at converting the musical's orientalism into "a modern critique of racism and sexism". Other commentators, however, such as composer Mohammed Fairouz, argued that an attempt at sensitivity in production cannot compensate for "the inaccurate portrayal of the historic King Mongkut as a childlike tyrant and the infantilization of the entire Siamese population of the court", which demonstrate a racist subtext in the piece, even in 1951 when it was written. Benjamin Ivry opined that "the Rodgers and Hammerstein organization should shelve the [musical] as a humanitarian gesture toward Southeast Asian history and art".
Fifty years after its premiere, Rodgers biographer Meryle Secrest summed up the musical:
References
Bibliography
Block, Geoffrey (ed.) The Richard Rodgers Reader. New York: Oxford University Press (US), 2006. .
Bloom, Ken and Vlastnik, Frank. Broadway Musicals: The 101 Greatest Shows of All Time. New York: Black Dog & Leventhal Publishers, 2004. .
Capua, Michelangelo. Yul Brynner: A Biography, Jefferson, N.C.: McFarland & Co. Inc., 2006; .
Fordin, Hugh. Getting to Know Him: A Biography of Oscar Hammerstein II. Jefferson, N.C.: Da Capo Press, 1995 reprint of 1986 edition. .
Green, Stanley. "Encyclopedia of the Musical Theatre. Jefferson, N.C.: Da Capo Press, 1980. .
Hammerstein, Oscar Andrew. The Hammersteins: A Musical Theatre Family. New York: Black Dog & Leventhal Publishers, 2010. .
Hischak, Thomas S. The Rodgers and Hammerstein Encyclopedia. Westport, Conn.: Greenwood Publishing Group, 2007. .
Hyland, William G. Richard Rodgers. New Haven, Conn.: Yale University Press, 1998. .
Ma, Sheng-mei. "Rodgers and Hammerstein's 'Chopsticks' musicals". Literature/Film Quarterly, Vol. 31, Number 1 (2003), pp. 17–26.
Mordden, Ethan. Rodgers & Hammerstein. New York: Harry N. Abrams, Inc., 1992. .
Morgan, Susan. Bombay Anna: The Real Story and Remarkable Adventures of the King and I Governess, Berkeley, Cal.: University of California Press, 2008; .
Morley, Sheridan, Gertrude Lawrence. New York: McGraw-Hill, 1981. .
Nolan, Frederick. The Sound of Their Music: The Story of Rodgers and Hammerstein. Cambridge, Mass.: Applause Theatre and Cinema Books, 2002. .
Secrest, Meryle. Somewhere for Me: A Biography of Richard Rodgers. Cambridge, Mass.: Applause Theatre and Cinema Books, 2001. .
Further reading
Rodgers, Richard. Musical Stages: An Autobiography. Jefferson, N.C. Da Capo Press, 2002 reprint of 1975 edition. .
Ponti, Carla. The Musical Representation of Asian Characters in the Musicals of Richard Rodgers, University of California: San Diego, 2010.
External links
Performance at the 2015 Tony Awards
The King and I
1951 musicals
Broadway musicals
Buddhism in fiction
Drama Desk Award-winning musicals
Grammy Hall of Fame Award recipients
Monarchy in fiction
Musicals based on novels
Musicals by Rodgers and Hammerstein
Plays set in the 19th century
Polygamy in fiction
Thailand in fiction
Tony Award for Best Musical
West End musicals
Musicals inspired by real-life events
Cultural depictions of Anna Leonowens
Cultural depictions of Mongkut
Tony Award-winning musicals | true | [
"Melchom is a demon or spirit in the Dictionnaire Infernal. It is the god or idol of the Ammonites, otherwise called Moloch, and Melech: which in Hebrew signifies a king, and Melchom signifies their unearthly king, referring to their unholy idol, Melchom.\n\nThe Jamieson-Fausset-Brown Bible Commentary reads:\n\nThe Ammonite god is said to do what they do, namely, occupy the Israelite land of Gad. To Jehovah, the theocratic \"King\" of Israel, the land belonged of right; so that their Molech or Melchom was an usurper-king. \n\nThis statement applies that, while the ammonites lived in Gad, so did Melchom. However, after they were chased from there by the Israelites, Melchom was cast down from his idolic throne. This is the moment when Melchom was embodied as a demon after King David \"took his crown\". In this new form he is a lesser demon, and is the paymaster of servants in hell. He is known as \"he who carries the purse\".\n\nSee also\n Bible\n Josephus\n\nReferences\n\nExternal links\n Names of Demons from Collin de Plancy's Dictionnaire Infernal\n\nDemons",
"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"
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"The King and I",
"Historical background",
"whats the historical background of the king",
"Mongkut, King of Siam, was about 57 years old in 1861. He had lived half his life as a Buddhist monk,",
"when did he become king",
"When Nangklao died in 1850, Mongkut became king.",
"how did nangklao die",
"I don't know.",
"what did the king do",
"He ultimately succeeded in keeping Siam an independent nation, partly by familiarizing his heirs and harem with Western ways."
]
| C_a7100cea58f5442e87cf4742cef4a56f_1 | what is his major accompolishment | 5 | What is King Mongkut's major accompolishment? | The King and I | Mongkut, King of Siam, was about 57 years old in 1861. He had lived half his life as a Buddhist monk, was an able scholar, and founded a new order of Buddhism and a temple in Bangkok (paid for by his half-brother, King Nangklao). Through his decades of devotion, Mongkut acquired an ascetic lifestyle and a firm grasp of Western languages. When Nangklao died in 1850, Mongkut became king. At that time, various European countries were striving for dominance, and American traders sought greater influence in Southeast Asia. He ultimately succeeded in keeping Siam an independent nation, partly by familiarizing his heirs and harem with Western ways. In 1861, Mongkut wrote to his Singapore agent, Tan Kim Ching, asking him to find a British lady to be governess to the royal children. At the time, the British community in Singapore was small, and the choice fell on a recent arrival there, Anna Leonowens (1831-1915), who was running a small nursery school in the colony. Leonowens was the Anglo-Indian daughter of an Indian Army soldier and the widow of Thomas Owens, a clerk and hotel keeper. She had arrived in Singapore two years previously, claiming to be the genteel widow of an officer and explaining her dark complexion by stating that she was Welsh by birth. Her deception was not detected until long after her death, and had still not come to light when The King and I was written. Upon receiving the King's invitation, Leonowens sent her daughter, Avis, to school in England, to give Avis the social advantage of a prestigious British education, and traveled to Bangkok with her five-year-old son, Louis. King Mongkut had sought a Briton to teach his children and wives after trying local missionaries, who used the opportunity to proselytize. Leonowens initially asked for $150 in Singapore currency per month. Her additional request, to live in or near the missionary community to ensure she was not deprived of Western company, aroused suspicion in Mongkut, who cautioned in a letter, "we need not have teacher of Christianity as they are abundant here". King Mongkut and Leonowens came to an agreement: $100 per month and a residence near the royal palace. At a time when most transport in Bangkok was by boat, Mongkut did not wish to have to arrange for the teacher to get to work every day. Leonowens and Louis temporarily lived as guests of Mongkut's prime minister, and after the first house offered was found to be unsuitable, the family moved into a brick residence (wooden structures decayed quickly in Bangkok's climate) within walking distance of the palace. In 1867, Leonowens took a six-month leave of absence to visit her daughter Avis in England, intending to deposit Louis at a school in Ireland and return to Siam with Avis. However, due to unexpected delays and opportunities for further travel, Leonowens was still abroad in late 1868, when Mongkut fell ill and died. Leonowens did not return to Siam, although she continued to correspond with her former pupil, the new king Chulalongkorn. CANNOTANSWER | CANNOTANSWER | The King and I is the fifth musical by the team of Rodgers and Hammerstein. It is based on Margaret Landon's novel, Anna and the King of Siam (1944), which is in turn derived from the memoirs of Anna Leonowens, governess to the children of King Mongkut of Siam in the early 1860s. The musical's plot relates the experiences of Anna, a British schoolteacher who is hired as part of the King's drive to modernize his country. The relationship between the King and Anna is marked by conflict through much of the piece, as well as by a love to which neither can admit. The musical premiered on March 29, 1951, at Broadway's St. James Theatre. It ran for nearly three years, making it the fourth-longest-running Broadway musical in history at the time, and has had many tours and revivals.
In 1950, theatrical attorney Fanny Holtzmann was looking for a part for her client, veteran leading lady Gertrude Lawrence. Holtzmann realized that Landon's book would provide an ideal vehicle and contacted Rodgers and Hammerstein, who were initially reluctant but agreed to write the musical. The pair initially sought Rex Harrison to play the supporting part of the King, a role he had played in the 1946 film made from Landon's book, but he was unavailable. They settled on the young actor and television director Yul Brynner.
The musical was an immediate hit, winning Tony Awards for Best Musical, Best Actress (for Lawrence) and Best Featured Actor (for Brynner). Lawrence died unexpectedly of cancer a year and a half after the opening, and the role of Anna was played by several actresses during the remainder of the Broadway run of 1,246 performances. A hit London run and U.S. national tour followed, together with a 1956 film for which Brynner won an Academy Award, and the musical was recorded several times. In later revivals, Brynner came to dominate his role and the musical, starring in a four-year national tour culminating in a 1985 Broadway run shortly before his death.
Christopher Renshaw directed major revivals on Broadway (1996), winning the Tony Award for Best Revival, and in the West End (2000). A 2015 Broadway revival won another Tony for Best Revival. Both professional and amateur revivals of The King and I continue to be staged regularly throughout the English-speaking world.
Historical background
Mongkut, King of Siam, was about 57 years old in 1861. He had lived half his life as a Buddhist monk, was an able scholar, and founded a new order of Buddhism and a temple in Bangkok (paid for by his half-brother, King Nangklao). Through his decades of devotion, Mongkut acquired an ascetic lifestyle and a firm grasp of Western languages. When Nangklao died in 1850, Mongkut became king. At that time, various European countries were striving for dominance, and American traders sought greater influence in Southeast Asia. He ultimately succeeded in keeping Siam an independent nation, partly by familiarizing his heirs and harem with Western ways.
In 1861, Mongkut wrote to his Singapore agent, Tan Kim Ching, asking him to find a British lady to be governess to the royal children. At the time, the British community in Singapore was small, and the choice fell on a recent arrival there, Anna Leonowens (1831–1915), who was running a small nursery school in the colony. Leonowens was the Anglo-Indian daughter of an Indian Army soldier and the widow of Thomas Owens, a clerk and hotel keeper. She had arrived in Singapore two years previously, claiming to be the genteel widow of an officer and explaining her dark complexion by stating that she was Welsh by birth. Her deception was not detected until long after her death, and had still not come to light when The King and I was written.
Upon receiving the King's invitation, Leonowens sent her daughter, Avis, to school in England, to give Avis the social advantage of a prestigious British education, and traveled to Bangkok with her five-year-old son, Louis. King Mongkut had sought a Briton to teach his children and wives after trying local missionaries, who used the opportunity to proselytize. Leonowens initially asked for $150 in Singapore currency per month. Her additional request, to live in or near the missionary community to ensure she was not deprived of Western company, aroused suspicion in Mongkut, who cautioned in a letter, "we need not have teacher of Christianity as they are abundant here". King Mongkut and Leonowens came to an agreement: $100 per month and a residence near the royal palace. At a time when most transport in Bangkok was by boat, Mongkut did not wish to have to arrange for the teacher to get to work every day. Leonowens and Louis temporarily lived as guests of Mongkut's prime minister, and after the first house offered was found to be unsuitable, the family moved into a brick residence (wooden structures decayed quickly in Bangkok's climate) within walking distance of the palace.
In 1867, Leonowens took a six-month leave of absence to visit her daughter Avis in England, intending to deposit Louis at a school in Ireland and return to Siam with Avis. However, due to unexpected delays and opportunities for further travel, Leonowens was still abroad in late 1868, when Mongkut fell ill and died. Leonowens did not return to Siam, although she continued to correspond with her former pupil, the new king Chulalongkorn.
Creation
In 1950, British actress Gertrude Lawrence's business manager and attorney, Fanny Holtzmann, was looking for a new vehicle for her client when the 1944 Margaret Landon novel Anna and the King of Siam (a fictionalized version of Leonowens' experiences) was sent to her by Landon's agent. According to Rodgers biographer Meryle Secrest, Holtzmann was worried that Lawrence's career was fading. The 51-year-old actress had appeared only in plays, not in musicals, since Lady in the Dark closed in 1943. Holtzmann agreed that a musical based on Anna and the King of Siam would be ideal for her client, who purchased the rights to adapt the novel for the stage.
Holtzmann initially wanted Cole Porter to write the score, but he declined. She was going to approach Noël Coward next, but happened to meet Dorothy Hammerstein (Oscar's wife) in Manhattan. Holtzmann told Dorothy Hammerstein that she wanted Rodgers and Hammerstein to create a show for Lawrence, and asked her to see that her husband read a book that Holtzmann would send over. In fact, both Dorothy Rodgers and Dorothy Hammerstein had read the novel in 1944 and had urged their husbands to consider it as a possible subject for a musical. Dorothy Hammerstein had known Gertrude Lawrence since 1925, when they had both appeared in André Charlot's London Revue of 1924 on Broadway and on tour in North America.
Rodgers and Hammerstein had disliked Landon's novel as a basis for a musical when it was published, and their views still held. It consists of vignettes of life at the Siamese court, interspersed with descriptions of historical events unconnected with each other, except that the King creates most of the difficulties in the episodes, and Anna tries to resolve them. Rodgers and Hammerstein could see no coherent story from which a musical could be made until they saw the 1946 film adaptation, starring Irene Dunne and Rex Harrison, and how the screenplay united the episodes in the novel. Rodgers and Hammerstein were also concerned about writing a star vehicle. They had preferred to make stars rather than hire them, and engaging the legendary Gertrude Lawrence would be expensive. Lawrence's voice was also a worry: her limited vocal range was diminishing with the years, while her tendency to sing flat was increasing. Lawrence's temperament was another concern: though she could not sing like one, the star was known to be capable of diva-like behavior. In spite of this, they admired her acting – what Hammerstein called her "magic light", a compelling presence on stage – and agreed to write the show. For her part, Lawrence committed to remaining in the show until June 1, 1953, and waived the star's usual veto rights over cast and director, leaving control in the hands of the two authors.
Hammerstein found his "door in" to the play in Landon's account of a slave in Siam writing about Abraham Lincoln. This would eventually become the narrated dance, "The Small House of Uncle Thomas". Since a frank expression of romantic feelings between the King and Anna would be inappropriate in view of both parties' upbringing and prevailing social mores, Hammerstein wrote love scenes for a secondary couple, Tuptim, a junior wife of the King, and Lun Tha, a scholar. In the Landon work, the relationship is between Tuptim and a priest, and is not romantic. The musical's most radical change from the novel was to have the King die at the end of the musical. Also, since Lawrence was not primarily a singer, the secondary couple gave Rodgers a chance to write his usual "soaring" romantic melodies. In an interview for The New York Times, Hammerstein indicated that he wrote the first scene before leaving for London and the West End production of Carousel in mid-1950; he wrote a second scene while in the British capital.
The pair had to overcome the challenge of how to represent Thai speech and music. Rodgers, who had experimented with Asian music in his short-lived 1928 musical with Lorenz Hart titled Chee-chee, did not wish to use actual Thai music, which American audiences might not find accessible. Instead, he gave his music an exotic flavor, using open fifths and chords in unusual keys, in ways pleasant to Western ears. Hammerstein faced the problem of how to represent Thai speech; he and Rodgers chose to convey it by musical sounds, made by the orchestra. For the King's style of speech, Hammerstein developed an abrupt, emphatic way of talking, which was mostly free of articles, as are many East Asian languages. The forceful style reflected the King's personality and was maintained even when he sang, especially in his one solo, "A Puzzlement". Many of the King's lines, including his first utterance, "Who? Who? Who?", and much of the initial scene between him and Anna, are drawn from Landon's version. Nevertheless, the King is presented more sympathetically in the musical than in the novel or the 1946 film, as the musical omits the torture and burning at the stake of Lady Tuptim and her partner.
With Rodgers laid up with back trouble, Hammerstein completed most of the musical's book before many songs were set to music. Early on, Hammerstein contacted set designer Jo Mielziner and costume designer Irene Sharaff and asked them to begin work in coordination with each other. Sharaff communicated with Jim Thompson, an American who had revived the Thai silk industry after World War II. Thompson sent Sharaff samples of silk cloth from Thailand and pictures of local dress from the mid-19th century. One such picture, of a Thai woman in western dress, inspired the song "Western People Funny", sung by the King's chief wife, Lady Thiang, while dressed in western garb.
Producer Leland Hayward, who had worked with the duo on South Pacific, approached Jerome Robbins to choreograph a ballet for "The Small House of Uncle Thomas". Robbins was very enthusiastic about the project and asked to choreograph the other musical numbers as well, although Rodgers and Hammerstein had originally planned little other dancing. Robbins staged "The Small House of Uncle Thomas" as an intimate performance, rather than a large production number. His choreography for the parade of the King's children to meet their teacher ("March of the Royal Siamese Children") drew great acclaim. Robert Russell Bennett provided the orchestrations, and Trude Rittmann arranged the ballet music.
The pair discussed having an Act 1 musical scene involving Anna and the King's wives. The lyrics for that scene proved to be very difficult for Hammerstein to write. He first thought that Anna would simply tell the wives something about her past, and wrote such lyrics as "I was dazzled by the splendor/Of Calcutta and Bombay" and "The celebrities were many/And the parties very gay/(I recall a curry dinner/And a certain Major Grey)." Eventually, Hammerstein decided to write about how Anna felt, a song which would not only explain her past and her motivation for traveling with her son to the court of Siam, but also serve to establish a bond with Tuptim and lay the groundwork for the conflict that devastates Anna's relationship with the King. "Hello, Young Lovers", the resulting song, was the work of five exhausting weeks for Hammerstein. He finally sent the lyrics to Rodgers by messenger and awaited his reaction. Hammerstein considered the song his best work and was anxious to hear what Rodgers thought of it, but no comment came from Rodgers. Pride kept Hammerstein from asking. Finally, after four days, the two happened to be talking on the phone about other matters, and at the end of the conversation, Rodgers stated, very briefly, that the lyric was fine. Josh Logan, who had worked closely with Hammerstein on South Pacific, listened to the usually unflappable writer pour out his unhappy feelings. It was one of the few times that Hammerstein and Rodgers did not display a united front.
Casting and auditions
Although the part of the King was only a supporting role to Lawrence's Anna, Hammerstein and Rodgers thought it essential that a well-known theatrical actor play it. The obvious choice was Rex Harrison, who had played the King in the movie, but he was booked, as was Noël Coward. Alfred Drake, the original Curly in Oklahoma!, made contractual demands which were deemed too high. With time running short before rehearsals, finding an actor to play the King became a major concern. Mary Martin, the original Nellie Forbush in South Pacific, suggested that her co-star in a 1946 musical set in China, Lute Song, try for the role. Rodgers recounted the audition of the Russian-American performer, Yul Brynner:
Brynner termed Rodgers' account "very picturesque, but totally inaccurate". He recalled that as an established television director (in CBS's Starlight Theatre, for example), he was reluctant to go back on the stage. His wife, his agent and Martin finally convinced him to read Hammerstein's working script, and once he did, he was fascinated by the character of the King and was eager to do the project. In any case, Brynner's fierce, mercurial, dangerous, yet surprisingly sensitive King was an ideal foil for Lawrence's strong-willed, yet vulnerable Anna, and when the two finally came together in "Shall We Dance?", where the King hesitantly touches Anna's waist, the chemistry was palpable.
Pre-rehearsal preparations began in late 1950. Hammerstein had wanted Logan to direct and co-write the book, as he had for South Pacific, but when Logan declined, Hammerstein decided to write the entire book himself. Instead of Logan, the duo hired as director John van Druten, who had worked with Lawrence years earlier. The costume designer, Sharaff, wryly pointed the press to the incongruity of a Victorian British governess in the midst of an exotic court: "The first-act finale of The King and I will feature Miss Lawrence, Mr. Brynner, and a pink satin ball gown." Mielziner's set plan was the simplest of the four Rodgers and Hammerstein musicals he had worked on, with one main set (the throne room), a number of front-stage drops (for the ship and Anna's room, for example) and the entire stage cleared for "The Small House of Uncle Thomas".
The show was budgeted at $250,000 (US$ in dollars) making it the most expensive Rodgers and Hammerstein production to that point, and prompting some mockery that costs exceeded even their expensive flop Allegro. Investors included Hammerstein, Rodgers, Logan, Martin, Billy Rose and Hayward. The children who were cast as the young princes and princesses came from a wide range of ethnic backgrounds, including Puerto Rican or Italian, though none were Thai. Johnny Stewart was the original Prince Chulalongkorn but left the cast after only three months, replaced by Ronnie Lee. Sandy Kennedy was Louis, and Broadway veteran Larry Douglas played Lun Tha.
Shortly before rehearsals began in January 1951, Rodgers had the first Tuptim, Doretta Morrow, sing the entire score to Lawrence, including Lawrence's own songs. Lawrence listened calmly, but when she met Rodgers and Hammerstein the following day, she treated Rodgers coldly, apparently seeing the composer's actions as flaunting her vocal deficiencies. Hammerstein and Rodgers' doubts about whether Lawrence could handle the part were assuaged by the sheer force of her acting. James Poling, a writer for Collier's who was allowed to attend the rehearsals, wrote of Lawrence preparing "Shall I Tell You What I Think of You?":
At his first meeting with Sharaff, Brynner, who had only a fringe of hair, asked what he was to do about it. When told he was to shave it, Brynner was horror-struck and refused, convinced he would look terrible. He finally gave in during tryouts and put dark makeup on his shaved head. The effect was so well-received that it became Brynner's trademark.
Lawrence's health caused her to miss several rehearsals, though no one knew what was wrong with her. When the tryout opened in New Haven, Connecticut on February 27, 1951, the show was nearly four hours long. Lawrence, suffering from laryngitis, had missed the dress rehearsal but managed to make it through the first public performance. The Variety critic noted that despite her recent illness she "slinks, acts, cavorts, and in general exhibits exceedingly well her several facets for entertaining", but the Philadelphia Bulletin printed that her "already thin voice is now starting to wear a great deal thinner". Leland Hayward came to see the show in New Haven and shocked Rodgers by advising him to close it before it went any further. Additionally, when the show left New Haven for Boston for more tryout performances, it was still at least 45 minutes too long. Gemze de Lappe, who was one of the dancers, recalled one cut that she regretted:
This song, "Waiting", was a trio for Anna, the King, and the Kralahome (the King's prime minister). "Who Would Refuse?", the Kralahome's only solo, was also dropped. Left without a note to sing, Mervyn Vye abandoned the show and was replaced by John Juliano. "Now You Leave", a song for Lady Thiang (played by Dorothy Sarnoff in the original production), was also cut. After the cuts, Rodgers and Hammerstein felt that the first act was lacking something. Lawrence suggested that they write a song for Anna and the children. Mary Martin reminded them of a song that had been cut from South Pacific, "Suddenly Lucky". Hammerstein wrote a new lyric for the melody, and the resulting song became "Getting to Know You". "Western People Funny" and "I Have Dreamed" were also added in Boston.
Brynner regretted that there were not more tryout performances, feeling that the schedule did not give him an adequate opportunity to develop the complex role of the King. When he told this to Hammerstein and Rodgers, they asked what sort of performance they would get from him, and he responded, "It will be good enough, it will get the reviews."
Plot
Act 1
In 1862, a strong-willed, widowed schoolteacher, Anna Leonowens, arrives in Bangkok, Siam (later known as Thailand) at the request of the King of Siam to tutor his many children. Anna's young son, Louis, fears the severe countenance of the King's prime minister, the Kralahome, but Anna refuses to be intimidated ("I Whistle a Happy Tune"). The Kralahome has come to escort them to the palace, where they are expected to live – a violation of Anna's contract, which calls for them to live in a separate house. She considers returning to Singapore aboard the vessel that brought them, but goes with her son and the Kralahome.
Several weeks pass, during which Anna and Louis are confined to their palace rooms. The King receives a gift from the king of Burma, a lovely slave girl named Tuptim, to be one of his many wives. She is escorted by Lun Tha, a scholar who has come to copy a design for a temple, and the two are secretly in love. Tuptim, left alone, declares that the King may own her, but not her heart ("My Lord and Master"). The King gives Anna her first audience. The schoolteacher is a part of his plan for the modernization of Siam; he is impressed when she already knows this. She raises the issue of her house with him, he dismisses her protests and orders her to talk with his wives. They are interested in her, and she tells them of her late husband, Tom ("Hello, Young Lovers"). The King presents her new pupils; Anna is to teach those of his children whose mothers are in favor with him – several dozen – and is to teach their mothers as well. The princes and princesses enter in procession ("March of the Royal Siamese Children"). Anna is charmed by the children, and formality breaks down after the ceremony as they crowd around her.
Anna has not given up on the house, and teaches the children proverbs and songs extolling the virtues of home life, to the King's irritation. The King has enough worries without battling the schoolteacher, and wonders why the world has become so complicated ("A Puzzlement"). The children and wives are hard at work learning English ("The Royal Bangkok Academy"). The children are surprised by a map showing how small Siam is compared with the rest of the world ("Getting to Know You"). As the crown prince, Chulalongkorn, disputes the map, the King enters a chaotic schoolroom. He orders the pupils to believe the teacher but complains to Anna about her lessons about "home". Anna stands her ground and insists on the letter of her contract, threatening to leave Siam, much to the dismay of wives and children. The King orders her to obey as "my servant"; she repudiates the term and hurries away. The King dismisses school, then leaves, uncertain of his next action. Meanwhile, Lun Tha comes upon Tuptim, and they muse about having to hide their relationship ("We Kiss in a Shadow").
In her room, Anna replays the confrontation in her mind, her anger building ("Shall I Tell You What I Think of You?"). Lady Thiang, the King's head wife, tells Anna that the King is troubled by his portrayal in the West as a barbarian, as the British are being urged to take over Siam as a protectorate. Anna is shocked by the accusations – the King is a polygamist, but he is no barbarian – but she is reluctant to see him after their argument. Lady Thiang convinces her that the King is deserving of support ("Something Wonderful"). Anna goes to him and finds him anxious for reconciliation. The King tells her that the British are sending an envoy to Bangkok to evaluate the situation. Anna "guesses" – the only guise in which the King will accept advice – that the King will receive the envoy in European style, and that the wives will be dressed in Western fashion. Tuptim has been writing a play based on a book that Anna has lent her, Uncle Tom's Cabin, that can be presented to the guests. News is brought to the King that the British are arriving much earlier than thought, and so Anna and the wives are to stay up all night to prepare. The King assembles his family for a Buddhist prayer for the success of the venture and also promises before Buddha that Anna will receive her own house "as provided in agreement, etc., etc."
Act 2
The wives are dressed in their new European-style gowns, which they find confining ("Western People Funny"). In the rush to prepare, the question of undergarments has been overlooked, and the wives have practically nothing on underneath their gowns. When the British envoy, Sir Edward Ramsay, arrives and gazes at them through a monocle, they are panicked by the "evil eye" and lift their skirts over their heads as they flee. Sir Edward is diplomatic about the incident. When the King is called away, it emerges that Sir Edward is an old flame of Anna's, and they dance in remembrance of old times, as Edward urges her to return to British society. The King returns and irritably reminds them that dancing is for after dinner.
As final preparations for the play are made, Tuptim steals a moment to meet with Lun Tha. He tells her he has an escape plan, and she should be ready to leave after the performance ("I Have Dreamed"). Anna encounters them, and they confide in her ("Hello, Young Lovers", reprise). The play ("Small House of Uncle Thomas", narrated ballet) is presented in a Siamese ballet-inspired dance. Tuptim is the narrator, and she tells her audience of the evil King Simon of Legree and his pursuit of the runaway slave Eliza. Eliza is saved by Buddha, who miraculously freezes a river and conceals her in snow. Buddha then causes the river to melt, drowning King Simon and his hunting party. The anti-slavery message is blunt.
After the play, Sir Edward reveals that the British threat has receded, but the King is distracted by his displeasure at Tuptim's rebellious message. After Sir Edward leaves, Anna and the King express their delight at how well the evening went, and he presents her with a ring. Secret police report that Tuptim is missing. The King realizes that Anna knows something; she parries his inquiry by asking why he should care: Tuptim is just another woman to him. He is delighted; she is at last understanding the Siamese perspective. Anna tries to explain to him the Western customs of courtship and tells him what it is like for a young woman at a formal dance ("Shall We Dance?"). He demands that she teach him the dance. She does, and in that dance they experience and express a love for each other that they can never speak aloud. They are interrupted by the Kralahome. Tuptim has been captured, and a search is on for Lun Tha. The King resolves to punish Tuptim, though she denies she and Lun Tha were lovers. Anna tries to dissuade him, but he is determined that her influence shall not rule, and he takes the whip himself. He turns to lash Tuptim, but under Anna's gaze is unable to swing the whip, and hurries away. Lun Tha is found dead, and Tuptim is dragged off, swearing to kill herself; nothing more is heard about her. Anna asks the Kralahome to give her ring back to the King; both schoolteacher and minister state their wish that she had never come to Siam.
Several months pass with no contact between Anna and the King. Anna is packed and ready to board a ship leaving Siam. Chulalongkorn arrives with a letter from the King, who has been unable to resolve the conflicts within himself and is dying. Anna hurries to the King's bedside and they reconcile. The King persuades her to take back the ring and to stay and assist the next king, Chulalongkorn. The dying man tells Anna to take dictation from the prince, and instructs the boy to give orders as if he were King. The prince orders the end of the custom of kowtowing that Anna hated. The King grudgingly accepts this decision. As Chulalongkorn continues, prescribing a less arduous bow to show respect for the king, his father dies. Anna kneels by the late King, holding his hand and kissing it, as the wives and children bow or curtsey, a gesture of respect to old king and new.
Principal roles and notable performers
Musical numbers
Act I
Overture – Orchestra
"I Whistle a Happy Tune" – Anna and Louis
"My Lord and Master" – Tuptim
"Hello, Young Lovers" – Anna
"March of the Royal Siamese Children" – Orchestra
"A Puzzlement" – King
"The Royal Bangkok Academy" – Anna, Wives and Children
"Getting to Know You" – Anna, Wives and Children
"We Kiss in a Shadow" – Tuptim and Lun Tha
"A Puzzlement" (reprise) – Louis and Prince Chulalongkorn
"Shall I Tell You What I Think of You?" – Anna
"Something Wonderful" – Lady Thiang
"Buddhist Prayer"/Act I finale – King and Company
Act II
Entr'acte – Orchestra
"Western People Funny" – Lady Thiang and Wives
"I Have Dreamed" – Tuptim and Lun Tha
"Hello, Young Lovers" (reprise) – Anna
"The Small House of Uncle Thomas" (Ballet) – Tuptim and Wives
"Song of the King" – King and Anna
"Shall We Dance?" – Anna and the King
"I Whistle a Happy Tune" (reprise) – Anna
"Something Wonderful" (reprise, finale ultimo) – Orchestra
Productions
Original productions
The King and I opened on Broadway on March 29, 1951, with a wide expectation of a hit by the press and public. Both Hammerstein and Rodgers professed to be worried. The composer complained that most people were not concerned about whether the show was good, but whether it was better than South Pacific. Even the weather cooperated: heavy rain in New York stopped in time to allow the mostly wealthy or connected opening night audience to arrive dry at the St. James Theatre. Margaret Landon, author of the book on which the musical was based, was not invited to opening night.
Brynner turned in an outstanding performance that night, nearly stealing the show. Lawrence knew that the company was nervous because of her illnesses. The director, John van Druten, described how her opening night performance put all worries to rest: "She came on the stage with a new and dazzling quality, as if an extra power had been granted to the brilliance of her stage light. She was radiant and wonderful." The rave reviews in the newspapers lifted Lawrence's spirits, and she expected a lengthy run as Anna, first on Broadway, then in London's West End, and finally on film. Lawrence won a Tony Award for her leading role, while Brynner won the award for best featured actor. The show won the Tony for best musical, and designers Mielziner and Sharaff received awards in their categories.
De Lappe remembered the contrast between Lawrence's indifferent singing voice and the force of her performance:
Lawrence's death and aftermath
Lawrence had not yet discovered that she was nearing death from liver cancer, and her weakened condition was exacerbated by the demands of her role. At the age of 52, she was required to wear dresses weighing while walking or dancing a total of during a 3½ hour performance eight times a week. Lawrence found it hard to bear the heat in the theatre during the summer months. Her understudy, Constance Carpenter, began to replace her in matinees. Later in the year Lawrence's strength returned, and she resumed her full schedule, but by Christmas she was battling pleurisy and suffering from exhaustion. She entered the hospital for a full week of tests. Just nine months before her death, the cancer still was not detected. In February 1952, bronchitis felled her for another week, and her husband Richard Aldrich asked Rodgers and Hammerstein if they would consider closing the show for Easter week to give her a chance to recover fully. They denied his request, but agreed to replace her with the original Ado Annie from Oklahoma!, Celeste Holm, for six weeks during the summer. Meanwhile, Lawrence's performances were deteriorating, prompting audiences to become audibly restive. Rodgers and Hammerstein prepared a letter, never delivered, advising her that "eight times a week you are losing the respect of 1,500 people". On August 16, 1952, she fainted following a matinee performance and was admitted to the NewYork–Presbyterian Hospital. She slipped into a coma and died on September 6, 1952, at the age of 54. Her autopsy revealed liver cancer. On the day of her funeral, the performance of The King and I was cancelled. The lights of Broadway and the West End were dimmed because of her death, and she was buried in the ball gown she wore during Act 2.
Carpenter assumed the role of Anna and went on to play it for 620 performances. Other Annas during the run included Holm, Annamary Dickey and Patricia Morison. Although Brynner later boasted of never missing a show, he missed several, once when stagehands at the St. James Theatre accidentally struck him in the nose with a piece of scenery, another time due to appendicitis. Also, for three months in 1952 (and occasionally in 1953), Alfred Drake replaced Brynner. One young actor, Sal Mineo, began as an extra, then became an understudy for a younger prince, then an understudy and later a replacement for Crown Prince Chulalongkorn. Mineo began a close friendship and working relationship with Brynner which would last for more than a decade. Another replacement was Terry Saunders as Lady Thiang. She reprised the role in the 1956 film. The last of the production's 1,246 performances was on March 20, 1954. The run was, at the time, the fourth longest ever for a Broadway musical. A U.S. national tour began on March 22, 1954, at the Community Theatre, Hershey, Pennsylvania, starring Brynner and Morison. The tour played in 30 cities, closing on December 17, 1955, at the Shubert Theatre, Philadelphia.
The original London production opened on October 8, 1953, at the Theatre Royal, Drury Lane, and was warmly received by both audiences and critics; it ran for 946 performances. The show was restaged by Jerome Whyte. The cast featured Valerie Hobson, in her last role, as Anna; Herbert Lom as the King; and Muriel Smith as Lady Thiang. Martin Benson played the Kralahome, a role he reprised in the film. Eve Lister was a replacement for Hobson, and George Pastell replaced Lom during the long run. The New York Times theatre columnist Brooks Atkinson saw the production with Lister and Pastell, and thought the cast commonplace, except for Smith, whom he praised both for her acting and her voice. Atkinson commented, "The King and I is a beautifully written musical drama on a high plane of human thinking. It can survive in a mediocre performance."
The musical was soon premiered in Australia, Japan, and throughout Europe.
Early revivals
The first revival of The King and I in New York was presented by the New York City Center Light Opera Company in April and May 1956 for three weeks, starring Jan Clayton and Zachary Scott, directed by John Fearnley, with Robbins' choreography recreated by June Graham. Muriel Smith reprised her London role of Lady Thiang, and Patrick Adiarte repeated his film role, Chulalongkorn. This company presented the musical again in May 1960 with Barbara Cook and Farley Granger, again directed by Fearnley, in another three-week engagement. Atkinson admired the purity of Cook's voice and thought that she portrayed Anna with "a cool dignity that gives a little more stature to the part than it has had before." He noted that Granger brought "a fresh point of view – as well as a full head of hair". Joy Clements played Tuptim, and Anita Darian was Lady Thiang. City Center again presented the show in June 1963, starring Eileen Brennan and Manolo Fabregas, directed by Fearnley. Clements and Darian reprised Tuptim and Thiang respectively. In the final City Center Light Opera production, Michael Kermoyan played the King opposite Constance Towers for three weeks in May 1968. Darian again played Lady Thiang. For all of these 1960s productions, Robbins' choreography was reproduced by Yuriko, who had played the role of Eliza in the original Broadway production and reprised the role in the City Center productions.
The Music Theatre of Lincoln Center, with Rodgers as producer, presented the musical in mid-1964 at the New York State Theater, starring Risë Stevens and Darren McGavin, with Michael Kermoyan as the Kralahome. Lun Tha, Tuptim and Thiang were played by Frank Porretta, Lee Venora and Patricia Neway. Costumes were by Irene Sharaff, the designer for the original productions and the film adaptation. The director was Edward Greenberg, with the Robbins choreography again reproduced by Yuriko. This was Music Theatre's debut production, a five-week limited engagement.
The King and I was revived at London's Adelphi Theatre on October 10, 1973, running for 260 performances until May 25, 1974, starring Sally Ann Howes as Anna and Peter Wyngarde as the King. Roger Redfarn directed, and Sheila O'Neill choreographed. The production, which began in June 1973 with a tour of the English provinces, earned mixed to warm reviews. Michael Billington in The Guardian called the revival "well played and well sung". Although he was enthusiastic about Howes as Anna, Billington thought Wyngarde "too fragile to be capable of inspiring unholy terror". He praised Redfarn's production – "whipped along at a good pace and made a sumptuous eyeful out of the interpolated ballet on 'Uncle Tom's Cabin'." Less favorably, Robert Cushman in The Observer thought the production "scenically and economically under-nourished". He liked Wyngarde's King ("a dignified clown") but thought Howes not formidable enough to stand up to him as Anna. He noted that "she sings beautifully and the songs are the evening's real justification".
Brynner reprises the role
In early 1976, Brynner received an offer from impresarios Lee Gruber and Shelly Gross to star, in the role that he had created 25 years before, in a U.S. national tour and Broadway revival. The tour opened in Los Angeles on July 26, 1976, with Constance Towers reprising the role of Anna. On opening night, Brynner suffered so badly from laryngitis that he lip-synched, with his son Rock singing and speaking the role from the orchestra pit. The production traveled across the United States, selling out every city it appeared in and finally opening in New York at the Uris Theatre (today the Gershwin Theatre) on May 2, 1977. The production featured Martin Vidnovic as Lun Tha, and Susan Kikuchi danced the part of Eliza, recreating the role that her mother, Yuriko, had originated. Yuriko both directed the production and recreated the Robbins choreography. Sharaff again designed costumes, and Michael Kermoyan reprised the role of the Kralahome, while June Angela was Tuptim. The run lasted 696 performances, almost two years, during which each of the stars took off three weeks, with Angela Lansbury replacing Towers and Kermoyan replacing Brynner. The production was nominated for the Drama Desk Award for Outstanding Musical.
Brynner insisted on renovations to the Uris before he would play there, stating that the theatre resembled "a public toilet". He also insisted that dressing rooms on the tour and at the Uris be arranged to his satisfaction. According to his biographer Michelangelo Capua, for years afterwards, performers thanked Brynner for having backstage facilities across the country cleaned up. New York Times reviewer Clive Barnes said of the revival, "The cast is a good one. Mr. Brynner grinning fire and snorting charm is as near to the original as makes little difference" and called Towers "piquantly ladylike and sweet without being dangerously saccharine". However, fellow Times critic Mel Gussow warned, later in the run, that "to a certain extent [Brynner] was coasting on his charisma".
The tour was extended in 1979, after the New York run, still starring Brynner and Towers. The production then opened in the West End, at the London Palladium, on June 12, 1979, and was reported to have the largest advance sale in English history. Brynner stated, "It is not a play, it is a happening." Virginia McKenna starred in London as Anna, winning an Olivier Award for her performance. June Angela again played Tuptim, and John Bennett was the Kralahome. It ran until September 27, 1980.
Brynner took only a few months off after the London run ended, which contributed to his third divorce; he returned to the road in early 1981 in an extended U.S. tour of the same production, which eventually ended on Broadway. Mitch Leigh produced and directed, and Robbins' choreography was reproduced by Rebecca West, who also danced the role of Simon of Legree, which she had danced at the Uris in 1977. Patricia Marand played Anna, Michael Kermoyan was again the Kralahome, Patricia Welch was Tuptim. During 1981, Kate Hunter Brown took over as Anna, continuing in the role for at least a year and a half. By 1983, Mary Beth Peil was playing Anna. On September 13, 1983, in Los Angeles, Brynner celebrated his 4,000th performance as the King; on the same day he was privately diagnosed with inoperable lung cancer, and the tour had to shut down for a few months while he received painful radiation therapy to shrink the tumor. The Washington Post reviewer saw Brynner's "absolutely last farewell tour" in December 1984 and wrote of the star:
The production reached New York in January 1985, running for 191 performances at the Broadway Theatre, with Brynner, Peil, Welch and West still playing their roles. The part of Eliza was played by the leading man's fourth wife, Kathy Lee Brynner, and newcomer Jeffrey Bryan Davis played Louis. During the run, Brynner was unable to sing "A Puzzlement", due to what was announced as a throat and ear infection, but he "projected bursting vitality to the top of the balcony." He received a special Tony Award for his role as the King and had come to dominate the musical to such an extent that Peil was nominated merely for a featured actress Tony as Anna. Leigh was nominated for a Tony for his direction. New York Times critic Frank Rich praised Brynner but was ambivalent about the production, which he called "sluggish", writing that Brynner's "high points included his fond, paternalistic joshing with his brood in 'The March of the Siamese Children,' his dumb-show antics while attempting to force the English schoolteacher Anna to bow, and, of course, the death scene. ... The star aside, such showmanship is too often lacking in this King and I." The last performance was a special Sunday night show, on June 30, 1985, in honor of Brynner and his 4,625th performance of the role. Brynner died less than four months later, on October 10, 1985.
From August 1989 to March 1990, Rudolf Nureyev played the King in a North American tour opposite Liz Robertson, with Kermoyan as the Kralahome, directed by Arthur Storch and with the original Robbins choreography. Reviews were uniformly critical, lamenting that Nureyev failed to embody the character, "a King who stands around like a sulky teenager who didn't ask to be invited to this party. ... Not even his one dance number ... goes well. ... Rodgers and Hammerstein's King [is] supposed to be a compelling personality [but Nureyev's] bears no resemblance to the man described ... in the "Something Wonderful" number. The show therefore comes across as something of a charade ... with everyone pretending to be dealing with a fearsome potentate who, in fact, is displaying very little personality at all."
Renshaw's production: 1991 to 2003
The first major revival to break away from the original staging and interpretation was an Australian production directed by Christopher Renshaw, starring Hayley Mills as Anna, in 1991. Renshaw pointedly ignored the printed stage directions in the script when reshaping the piece into what he called "an authentic Thai experience". The production had a more sinister Siamese setting, a less elegant but more forceful Anna, and a younger King (Tony Marinyo). The attraction between Anna and the King was made explicit. Renshaw "cut a few lines and lyrics, and translated others into Thai to reinforce the atmosphere of a foreign land", and all Asian roles were played by Asian actors. He also asked choreographers Lar Lubovitch and Jerome Robbins to create a "spiritual" ballet, for the King's entrance in Act 1, and a procession with a sacred white elephant in Act II. According to Renshaw, "The reds and golds were very much inspired by what we saw at the royal palace", and set and costume elements reflected images, architecture and other designs in the palace and elsewhere in Bangkok. For example, the stage was framed by columns of elephant figures, a large emerald Buddha loomed over Act I, and hundreds of elephant images were woven into the set. Renshaw said, "The elephant is regarded as a very holy creature ... they believe the spirit of Buddha often resides in the form of the elephant."
Stanley Green, in his Encyclopedia of the Musical Theatre, viewed the central theme of The King and I as "the importance of mutual understanding between people of differing ethnic and cultural backgrounds", but Renshaw felt the musical suffered from 1950s attitudes when "Orientalism was used as an exoticism rather than a real understanding of the particular culture." He stated that his production was informed by authentic Thai cultural, aesthetic and religious ideas that he learned from visiting Thailand. A feature in Playbill commented that the production focused on the "clash of ideologies and cultures, of East versus West". Theatre arts professor Eileen Blumenthal, however, called the production "a King and I for the age of political correctness". While she acknowledged that the musical's treatment of Asian cultures had come to be viewed as insensitive over the decades since its premiere, she argued that Rodgers and Hammerstein's script was more sensitive than most orientalist literature of its day, in that "West learns from East as well as the other way around", and that, moreover, the musical's treatment of its Asian subject is fantastical, not intended to be realistic. She concluded that the show is a documentary of "who we've been" in the West, and that The King and I should not be suppressed, because it is "too good".
The production was reproduced on Broadway, opening on April 11, 1996, at the Neil Simon Theatre, starring Donna Murphy as Anna, who won a Tony Award for her performance, and Lou Diamond Phillips as the King, with Randall Duk Kim as the Kralahome, Jose Llana as Lun Tha, Joohee Choi as Tuptim and Taewon Yi Kim as Lady Thiang. Jenna Ushkowitz made her Broadway debut as one of the children. The production was nominated for eight Tony Awards, winning best revival and three others, with acting nominations for Phillips and Choi, who each won Theatre World Awards, and seven Drama Desk Awards, winning for Outstanding Revival of a Musical; Renshaw won for his direction. The production was praised for "lavish ... sumptuous" designs by Roger Kirk (costumes) and Brian Thomson (sets), who both won Tony and Drama Desk Awards for their work. Faith Prince played the role of Anna later in the run, followed by Marie Osmond. The revival ran on Broadway for 780 performances, and Kevin Gray replaced Phillips. The production then toured in the U.S., starring Mills and Victor Talmadge. Other Annas on this tour included Osmond, Sandy Duncan, Stefanie Powers and Maureen McGovern, who ended the tour in Chicago in June 1998.
The production opened on May 3, 2000, at the London Palladium, directed by Renshaw and choreographed by Lubovitch, and using the Kirk and Thomson designs. It reportedly took in £8 million in advance ticket sales. The cast included Elaine Paige as Anna and Jason Scott Lee as the King, with Sean Ghazi as Luan Tha and Ho Yi as the Kralahome. Lady Thiang was, again, played by Taewon Yi Kim, of whom The Observer wrote, "Her 'Something Wonderful' was just that." The show was nominated for an Olivier Award for outstanding musical. Later in the run, Lee was replaced as the King by Paul Nakauchi. The revival was generally well received. The Daily Mirror said: "The King and I waltzed back to the West End in triumph last night." The Daily Express observed, "Love it or loathe it, The King and I is an unstoppable smash." Variety, however, noted a lack of chemistry between the leads, commenting that "there’s something not entirely right in Siam when the greatest applause is reserved for Lady Thiang". Replacements included Josie Lawrence as Anna, Keo Woolford as the King and Saeed Jaffrey as the Kralahome. The show closed on January 5, 2002. It toured the UK in 2002 and 2003, with Stefanie Powers and then Marti Webb as Anna and Ronobir Lahiri as the King.
2004 to present
Another U.S. national tour began in mid-2004, directed by Baayork Lee (who appeared in the original production at age 5), with choreography by Susan Kikuchi, reproducing the Robbins original. Sandy Duncan again starred as Anna, while Martin Vidnovic played the King. He had played Lun Tha in the 1977 Broadway production and voiced the King in the 1999 animated film. Stefanie Powers took over for Duncan throughout 2005. Near the end of the tour in November 2005, Variety judged that Lee had successfully "harnessed the show's physical beauty and its intrinsic exotic flavor."
Jeremy Sams directed, and Kikuchi choreographed, a limited engagement of the musical in June 2009 at the Royal Albert Hall in London. It starred Maria Friedman and Daniel Dae Kim. A U.K. national tour starred Ramon Tikaram as the King and Josefina Gabrielle as Anna, directed by Paul Kerryson, with choreography by David Needham. It opened in December 2011 in Edinburgh and continued into May 2012.
In June 2014, Théâtre du Châtelet in Paris presented an English-language production of The King and I directed by Lee Blakeley and starring Susan Graham, who was "close to perfection as Anna", Lambert Wilson, "also excellent as the king", and Lisa Milne as Lady Thiang. The New York Times called it "a grand new staging that has set French critics searching for superlatives." The Renshaw production was revived again in April 2014 by Opera Australia for performances in Sydney, Melbourne and Brisbane, directed by Renshaw and featuring Lisa McCune and Teddy Tahu Rhodes. Some critics questioned anew the portrayal of the Siamese court as barbaric and asked why a show where "the laughs come from the Thai people mis-understanding British ... culture" should be selected for revival.
A fourth Broadway revival began previews on March 12 and opened on April 16, 2015 at the Vivian Beaumont Theater. The production was directed by Bartlett Sher and starred Kelli O'Hara as Anna and Ken Watanabe, as the King, in his American stage debut. It featured Ruthie Ann Miles as Lady Thiang, Paul Nakauchi as the Kralahome, Ashley Park as Tuptim, Conrad Ricamora as Lun Tha, Jake Lucas as Louis Leonowens, and Edward Baker-Duly as Sir Edward Ramsey. Choreography by Christopher Gattelli was based on the original Jerome Robbins dances. The designers included Michael Yeargan (sets), Catherine Zuber (costumes) and Donald Holder (lighting). Reviews were uniformly glowing, with Ben Brantley of The New York Times calling it a "resplendent production", praising the cast (especially O'Hara), direction, choreographer, designs and orchestra, and commenting that Sher "sheds a light [on the vintage material] that isn't harsh or misty but clarifying [and] balances epic sweep with intimate sensibility." The production was nominated for nine Tony Awards, winning four, including Best Revival of a Musical, Best Leading Actress (for O'Hara), Best Featured Actress (for Miles) and best costume design (for Zuber), and won the Drama Desk Award for Outstanding Revival. Replacements for the King included Jose Llana Hoon Lee and Daniel Dae Kim. Replacements for Anna included Marin Mazzie. The revival closed on June 26, 2016 after 538 performances. A U.S. national tour of the production began in November 2016. The cast included Laura Michelle Kelly as Anna, Llana as the King and Joan Almedilla as Lady Thiang. The production was reproduced at the London Palladium from June through September 2018. O'Hara and Watanabe reprised their roles, with Naoko Mori and Ruthie Ann Miles sharing the role of Lady Thiang, Na-Young Jeon as Tuptim, Dean John-Wilson as Lun Tha and Takao Osawa as the Kralahome. The production was nominated for 6 Laurence Olivier Awards, including Best Musical Revival. The production was filmed and shown in theatres in late 2018.
The King and I continues to be a popular choice for productions by community theatres, school and university groups, summer camps and regional theatre companies.
Adaptations
The musical was filmed in 1956 with Brynner re-creating his role opposite Deborah Kerr. The film was nominated for nine Academy Awards and won five, including Best Actor for Brynner, with Kerr nominated for Best Actress. Sharaff won for best costume design. The film was directed by Walter Lang (who was also nominated for an Oscar) and choreographed by Robbins. Marni Nixon dubbed the singing voice of Anna, and Rita Moreno played Tuptim. Saunders as Thiang, Adiarte as Chulalongkorn and Benson as the Kralahome reprised their stage roles, as did dancers Yuriko and de Lappe. Alan Mowbray appeared in the new role of the British Ambassador, while Sir Edward Ramsey (demoted to the Ambassador's aide) was played by Geoffrey Toone. The movie's script was faithful to the stage version, although it cut a few songs; reviews were enthusiastic. Thomas Hischak, in his The Rodgers and Hammerstein Encyclopedia, states: "It is generally agreed that the [movie] is the finest film adaptation of any R & H musical". Thai officials judged the film offensive to their monarchy and banned both film and musical in 1956.
A non-musical 1972 TV comedy series, starring Brynner, was broadcast in the U.S. by CBS but was cancelled in mid-season after 13 episodes. It followed the main storyline of the musical, focusing on the relationship between the title characters. Samantha Eggar played "Anna Owens", with Brian Tochi as Chulalongkorn, Keye Luke as the Kralahome, Eric Shea as Louis, Lisa Lu as Lady Thiang, and Rosalind Chao as Princess Serena. The first episode aired on September 17, 1972, and the last aired on December 31, 1972. Margaret Landon was unhappy with this series and charged the producers with "inaccurate and mutilated portrayals" of her literary property; she unsuccessfully sued for copyright infringement.
Jerome Robbins' Broadway was a Broadway revue, directed by Robbins, showcasing scenes from some of his most popular earlier works on Broadway. The show ran from February 1989 to September 1990 and won six Tony Awards, including best musical. It featured "Shall We Dance" and "The Small House of Uncle Thomas" ballet, with Kikuchi as Eliza. Yuriko was the choreographic "reconstruction assistant".
Rich Animation Studios, Morgan Creek Productions and Warner Bros. Pictures released a 1999 animated film adaptation of the musical. Except for using some of the songs and characters, the story is unrelated to the Rodgers and Hammerstein version. Geared towards children, the adaptation includes cuddly animals, including a dragon. Voices were provided by Miranda Richardson as Anna (speaking), Christiane Noll as Anna (singing), Martin Vidnovic as the King, Ian Richardson as the Kralahome and Adam Wylie as Louis. Hischak dislikes the film but praises the vocals, adding that one compensation of the film is hearing Barbra Streisand sing a medley of "I Have Dreamed", "We Kiss in a Shadow" and "Something Wonderful", which is borrowed from Streisand's 1985 The Broadway Album and played under the film's closing credits. He expressed surprise "that the Rodgers & Hammerstein Organization allowed it to be made" and noted that "children have enjoyed The King and I for five decades without relying on dancing dragons". Ted Chapin, president of that organization, has called the film his biggest mistake in granting permission for an adaptation.
Music and recordings
Musical treatment
In his music, Rodgers sought to give some of the music an Asian flavor. This is exhibited in the piercing major seconds that frame "A Puzzlement", the flute melody in "We Kiss in a Shadow", open fifths, the exotic 6/2 chords that shape "My Lord and Master", and in some of the incidental music. The music for "The Small House of Uncle Thomas" was for the most part written not by Rodgers, but by dance music arranger Trude Rittmann, though "Hello, Young Lovers" and a snatch of "A Puzzlement" are quoted within it.
Before Rodgers and Hammerstein began writing together, the AABA form for show tunes was standard, but many of the songs in The King and I vary from it. "I Have Dreamed" is an almost continuous repetition of variations on the same theme, until the ending, when it is capped by another melody. The first five notes (an eighth note triplet and two half notes) of "Getting to Know You" also carry the melody all the way through the refrain. According to Mordden, this refusal to accept conventional forms "is one reason why their frequently heard scores never lose their appeal. They attend to situation and they unveil character, but also, they surprise you."
According to Rodgers' biographer William Hyland, the score for The King and I is much more closely tied to the action than that of South Pacific, "which had its share of purely entertaining songs". For example, the opening song, "I Whistle a Happy Tune", establishes Anna's fear upon entering a strange land with her small son, but the merry melody also expresses her determination to keep a stiff upper lip. Hyland calls "Hello, Young Lovers" an archetypical Rodgers ballad: simple, with only two chords in the first eight bars, but moving in its directness.
Recordings
The original cast recording of The King and I was released by Decca Records in 1951. While John Kenrick admires it for the performances of the secondary couple, Larry Douglas and Doretta Morrow, and for the warmth of Lawrence's performance, he notes that "Shall We Dance" was abridged, and there are no children's voices – the chorus in "Getting to Know You" is made up of adults. In 2000, the recording was inducted into the Grammy Hall of Fame. Later in the same year Patrice Munsel and Robert Merrill made the first studio recording of selections from the musical. Hischak comments that in the 1953 London cast album, Valerie Hobson's vocals were no stronger than Lawrence's and that the highlight is Muriel Smith's "Something Wonderful" in a disc with too many cuts. He calls Anna's songs "well served" by Marni Nixon's singing in the 1956 film soundtrack and judges the recording as vocally satisfying; Kenrick describes it as a "mixed bag": he is pleased that it includes several songs cut from the film, and he praises Nixon's vocals, but he dislikes the supporting cast and suggests watching the movie instead for its visual splendor.
Kenrick prefers the 1964 Lincoln Center cast recording to the earlier ones, especially approving of the performances of Risë Stevens as Anna and Patricia Neway as Lady Thiang. The recording, for the first time, included the narrated ballet music for "The Small House of Uncle Thomas". Because a single LP limited a single-disc album to about fifty minutes, its inclusion required the absence of some of the other numbers. Kenrick finds the recording of the 1977 Broadway revival cast to be "[e]asily the most satisfying King & I on CD". He judges it to be Brynner's best performance, calling Towers "great" and Martin Vidnovic, June Angela and the rest of the supporting cast "fabulous", though lamenting the omission of the ballet. Hischak, in contrast, says that some might prefer Brynner in his earlier recordings, when he was "more vibrant". Kenrick enjoys the 1992 Angel studio recording mostly for the Anna of Julie Andrews, who he says is "pure magic" in a role she never performed on stage. Kenrick praises the performance of both stars on the 1996 Broadway revival recording, calling Lou Diamond Phillips "that rarity, a King who can stand free of Brynner's shadow". Hischak finds the soundtrack to the 1999 animated film with Christiane Noll as Anna and Martin Vidnovic as the King, as well as Barbra Streisand singing on one track, more enjoyable than the movie itself, but Kenrick writes that his sole use for that CD is as a coaster.
Critical reception
Opening night reviews of the musical were strongly positive. Richard Watts in the New York Post termed it "[a]nother triumph for the masters". Critic John Mason Brown stated, "They have done it again." The New York Times drama critic Brooks Atkinson wrote: "This time Messrs. Rodgers and Hammerstein are not breaking any fresh trails, but they are accomplished artists of song and words in the theater; and The King and I is a beautiful and lovable musical play." Barely less enthusiastic was John Lardner in The New Yorker, who wrote, "Even those of us who find [the Rodgers and Hammerstein musicals] a little too unremittingly wholesome are bound to take pleasure in the high spirits and technical skill that their authors, and producers, have put into them." Otis Guernsey wrote for the New York Herald Tribune, "Musicals and leading men will never be the same after last night ... Brynner set an example that will be hard to follow ... Probably the best show of the decade.
The balance of opinion among the critics of the original London production was generally favorable, with a few reservations. In The Observer, Ivor Brown predicted that the piece would "settle down for some years at Drury Lane." The anonymous critic of The Times compared the work to Gilbert and Sullivan: "Mr. Rodgers charmingly echoes Sullivan in the king's more topsy-turvy moments; and Mr. Hammerstein attends very skilfully to the lurking Gilbertian humour." Less favorably, in the Daily Express, John Barber called the work "this treacle-bin Mikado", and declared that only one of the cast, Muriel Smith, could really sing.
In 1963, New York Times reviewer Lewis Funke said of the musical, "Mr. Hammerstein put all of his big heart into the simple story of a British woman's adventures, heartaches, and triumphs. ... A man with a world-view, he seized the opportunity provided by [Landon's book] to underscore his thoughts on the common destiny of humanity." Fourteen years later, another Times reviewer, Clive Barnes, called the musical "unsophisticated and untroubled. Even its shadows are lightened with a laugh or a sweetly sentimental tear ... we can even be persuaded to take death as a happy ending".
The reworked 1996 Broadway production received mixed reviews. Vincent Canby of The New York Times disliked it: "This latest King and I might look like a million dollars as a regional production; on Broadway ... it's a disappointment. The score remains enchanting but, somewhere along the line, there has been a serious failure of the theatrical imagination." But Liz Smith enthused: "The King and I is perfect"; and the Houston Chronicle wrote, of the subsequent tour, "The King and I is the essence of musical theater, an occasion when drama, music, dance and decor combine to take the audience on an unforgettable journey." Critic Richard Christiansen in the Chicago Tribune observed, of a 1998 tour stop at the Auditorium Theatre: "Written in a more leisurely and innocent and less politically correct period, [The King and I] cannot escape the 1990s onus of its condescending attitude toward the pidgin English monarch and his people. And its story moves at a pace that's a mite too slow for this more hurried day and age." When the production reached London in 2000, however, it received uniformly positive reviews; the Financial Times called it "a handsome, spectacular, strongly performed introduction to one of the truly great musicals".
The 2015 Broadway revival initially received uniformly glowing reviews. Ben Brantley of The New York Times called it a "resplendent production" and commented:
Marilyn Stasio, in Variety, termed the production "sumptuous" and "absolutely stunning". She noted a "still pertinent theme: the dissonant dynamic when Western civilization tries to assert its values on ancient Eastern cultures." In USA Today, Elysa Gardner wrote of the grins and tears evoked by the production. "[W]atching these people from vastly different cultures carefully but joyfully reach for common ground ... can be almost unbearably moving. ... [Rodgers and Hammerstein's] textured humanity and appeals for tolerance, like their shimmering scores, only gain resonance as time passes." The production's attempts to achieve historical accuracy and explore the work's dark themes with a modern sensibility led some reviewers to conclude that it succeeds at converting the musical's orientalism into "a modern critique of racism and sexism". Other commentators, however, such as composer Mohammed Fairouz, argued that an attempt at sensitivity in production cannot compensate for "the inaccurate portrayal of the historic King Mongkut as a childlike tyrant and the infantilization of the entire Siamese population of the court", which demonstrate a racist subtext in the piece, even in 1951 when it was written. Benjamin Ivry opined that "the Rodgers and Hammerstein organization should shelve the [musical] as a humanitarian gesture toward Southeast Asian history and art".
Fifty years after its premiere, Rodgers biographer Meryle Secrest summed up the musical:
References
Bibliography
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Green, Stanley. "Encyclopedia of the Musical Theatre. Jefferson, N.C.: Da Capo Press, 1980. .
Hammerstein, Oscar Andrew. The Hammersteins: A Musical Theatre Family. New York: Black Dog & Leventhal Publishers, 2010. .
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Ma, Sheng-mei. "Rodgers and Hammerstein's 'Chopsticks' musicals". Literature/Film Quarterly, Vol. 31, Number 1 (2003), pp. 17–26.
Mordden, Ethan. Rodgers & Hammerstein. New York: Harry N. Abrams, Inc., 1992. .
Morgan, Susan. Bombay Anna: The Real Story and Remarkable Adventures of the King and I Governess, Berkeley, Cal.: University of California Press, 2008; .
Morley, Sheridan, Gertrude Lawrence. New York: McGraw-Hill, 1981. .
Nolan, Frederick. The Sound of Their Music: The Story of Rodgers and Hammerstein. Cambridge, Mass.: Applause Theatre and Cinema Books, 2002. .
Secrest, Meryle. Somewhere for Me: A Biography of Richard Rodgers. Cambridge, Mass.: Applause Theatre and Cinema Books, 2001. .
Further reading
Rodgers, Richard. Musical Stages: An Autobiography. Jefferson, N.C. Da Capo Press, 2002 reprint of 1975 edition. .
Ponti, Carla. The Musical Representation of Asian Characters in the Musicals of Richard Rodgers, University of California: San Diego, 2010.
External links
Performance at the 2015 Tony Awards
The King and I
1951 musicals
Broadway musicals
Buddhism in fiction
Drama Desk Award-winning musicals
Grammy Hall of Fame Award recipients
Monarchy in fiction
Musicals based on novels
Musicals by Rodgers and Hammerstein
Plays set in the 19th century
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Tony Award for Best Musical
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Tony Award-winning musicals | false | [
"The Avadhuta Upanishad (अवधूत उपनिषद) is a medieval era Sanskrit text and is one of the minor Upanishads of Hinduism. The text is attached to the Krishna Yajurveda, and is one of the 20 Sannyasa (renunciation) Upanishads. The text is also titled the Brihadavadhuta Upanishad, Laghuavadhuta Upanishad, and the Avadhutopanishad.\n\nThe text exists in two parts called major (Brihad) and minor (Laghu). The major part describes the nature and characteristics of an Avadhuta, literally the liberated person, also called a Jivanmukta. The minor part is a short allegorical summary of eight limb Yoga, that the text asserts is part of the Avadhuta lifestyle.\n\nHistory\nThe date or author of Avadhuta Upanishad is unclear, but given its literary style and the texts it references, it is likely a medieval era text. Olivelle and Sprockhoff date it around 14th- to 15th-century.\n\nManuscripts of this text are also found alternatively titled as Avadhutopanisad. The text is listed at number 79 in the Telugu language anthology of 108 Upanishads of the Muktika canon, narrated by Rama to Hanuman.\n\nContents\nThe text exists in two parts called Brihad-Avadhuta (large or major) and Laghu-Avadhuta (small or minor).\n\nThe Brihad-avadhuta Upanishad opens with Sannkriti asking Dattatreya, \"Who is an Avadhuta? What is his state and conduct? Dattatreya appears in several Sannyasa Upanishads including the Avadhuta Upanishad, states Rigopoulos, because he symbolizes the mastery of yoga and the perfectly liberated individual (Avadhuta) in ancient and medieval Hindu texts.\n\nDattatreya replies, asserts the Avadhuta Upanishad, that the word Avadhuta consists of four syllables, each of which come from four concepts. \"A\" comes from Akshara (alphabet) or that which is imperishable, \"Va\" comes from Varenya or excellent, \"Dhu\" comes from Dhuta (shaken off) and Ta comes from Tat or that. Avadhuta, states the Upanishad, is that person who has shaken off the world, is imperishable excellence, with the knowledge of that (Brahman), who is always is driven by his Atman (self, soul) alone, who has transcended discriminating against or for anyone by their varna (class) or stage of life. He lives in bliss, he wanders without care or unconcerned how he looks. His ritual is to make offerings internally in his body, and he condemns all external sacrifices.\n\nThe Brihad-avadhuta text is notable, states Patrick Olivelle, for referencing and incorporating fragments of or complete hymns from the Bhagavad Gita, Brihat-Sannyasa Upanishad, Pachadasi and other older texts. The incorporated ideas, states Olivelle, include those such as, \"Avadhuta is always in peace because he never clings or craves for anything\", and that the liberated man is one who does not care about heavenly afterlife, because he considers all the worlds as his self and his current life is as complete as it can be. The liberated man has done what all there is to do, states the Upanishad, and this Avadhuta continues his journey for the welfare of the world as required by the Vedas, for that is what he wants. Nothing hurts him as he considers himself neither the agent nor affected no matter what happens, he is content that he acts according to his soul. He feels, \"I am fortunate, I know myself, how wonderful we are, O what knowledge, O what happiness, O what scripture, O what a teacher\" I have, states the Upanishad.\n\nThe Laghu-avadhuta Upanishad is the Yoga part of the text. It opens by stating the eight limbs in a manner similar to Patanjali's Yogasutras. Yamas, asserts the text, is the discipline that detaches one from being controlled by one's senses. Niyamas is that behavior that leads to constant attachment to the truth, defines the Upanishad. Asanas is that posture which leads to indifference towards everything in the world. The goal of Yoga is achieving Samadhi, states the text, and it is the state of mental absorption where one is in total oblivion. He thus isolates his soul, he thus separates himself from all delusions in life, and attains the nature of supreme steadfastness. Thus he reaches Kaivalya, asserts the Upanishad.\n\nSee also\nJabala Upanishad\nNirvana Upanishad\nParamahamsa Upanishad\nYogatattva Upanishad\n\nReferences\n\nBibliography\n\n \n\nUpanishads\nSanskrit texts",
"F-flat major (or the key of F-flat) is a theoretical key based on F, consisting of the pitches F, G, A, B, C, D, and E Its key signature has six flats and one double flat.\n\nThe F-flat major scale is:\n\nIts relative minor is D-flat minor, usually replaced by C-sharp minor (see reason below) and its parallel minor is F-flat minor, usually replaced by E minor, since F-flat minor's four double-flats make it generally impractical to use. Because of that, it is usually enharmonic to E major with 4 sharps.\n\nMusic in F-flat major \nAlthough F-flat major is usually notated as its enharmonic equivalent of E major, because E major has four sharps only as opposed to F-flat major's eight flats (including the B), part of Richard Strauss' Metamorphosen uses F-flat major, which one commentator has called \"a bitter enharmonic parody\" of the earlier manifestations of E major in the piece.\n\nBeethoven also used F-flat major in his Piano Sonata No. 31, Op. 110. In the first movement's exposition, the transitional passage between the first and second subjects consists of arpeggiated figuration beginning in A-flat major and modulating to the dominant key of E-flat major. In the recapitulation, the key for this passage is changed to bring the second subject back in A-flat major: the transitional passage appears in a key that would theoretically be F-flat major, but which is notated in E major, presumably because Beethoven judged this easier to read – this key being a major third below the key of the earlier appearance of this passage. Likewise, the second movement (in A-flat major) of Beethoven's Piano Sonata No. 8 (Pathétique) contains six measures of what would theoretically be F-flat major, but notated as E major (keeping the 4-flat key signature of the movement, so every note in the passage has an accidental).\n\nAnother example of F-flat major being notated as E major can be found in the Adagio of Haydn's Trio No. 27 in A-flat major. The Finale of Bruckner's Symphony No. 4 employs enharmonic E for F-flat, but its coda employs F-flat directly, with a phrygian cadence through F-flat onto the tonic.\n\nAn example of F-flat major being used directly is in Victor Ewald's Quintet No. 4 in A-flat major (Op. 8), where the entirety of the third movement is notated in this key.\n\nThe climax that occurs in the middle of Samuel Barber's Adagio for Strings resolves to F-flat major. The final cadence of John Rutter's setting of Robert Herrick's poem \"What Sweeter Music\" is in F-flat major.\n\nReferences\n\nMusical keys\nMajor scales"
]
|
[
"The King and I",
"Historical background",
"whats the historical background of the king",
"Mongkut, King of Siam, was about 57 years old in 1861. He had lived half his life as a Buddhist monk,",
"when did he become king",
"When Nangklao died in 1850, Mongkut became king.",
"how did nangklao die",
"I don't know.",
"what did the king do",
"He ultimately succeeded in keeping Siam an independent nation, partly by familiarizing his heirs and harem with Western ways.",
"what is his major accompolishment",
"I don't know."
]
| C_a7100cea58f5442e87cf4742cef4a56f_1 | what is so historical about his kife | 6 | What is so historical about Mongkut, the Kinf of Siam's life? | The King and I | Mongkut, King of Siam, was about 57 years old in 1861. He had lived half his life as a Buddhist monk, was an able scholar, and founded a new order of Buddhism and a temple in Bangkok (paid for by his half-brother, King Nangklao). Through his decades of devotion, Mongkut acquired an ascetic lifestyle and a firm grasp of Western languages. When Nangklao died in 1850, Mongkut became king. At that time, various European countries were striving for dominance, and American traders sought greater influence in Southeast Asia. He ultimately succeeded in keeping Siam an independent nation, partly by familiarizing his heirs and harem with Western ways. In 1861, Mongkut wrote to his Singapore agent, Tan Kim Ching, asking him to find a British lady to be governess to the royal children. At the time, the British community in Singapore was small, and the choice fell on a recent arrival there, Anna Leonowens (1831-1915), who was running a small nursery school in the colony. Leonowens was the Anglo-Indian daughter of an Indian Army soldier and the widow of Thomas Owens, a clerk and hotel keeper. She had arrived in Singapore two years previously, claiming to be the genteel widow of an officer and explaining her dark complexion by stating that she was Welsh by birth. Her deception was not detected until long after her death, and had still not come to light when The King and I was written. Upon receiving the King's invitation, Leonowens sent her daughter, Avis, to school in England, to give Avis the social advantage of a prestigious British education, and traveled to Bangkok with her five-year-old son, Louis. King Mongkut had sought a Briton to teach his children and wives after trying local missionaries, who used the opportunity to proselytize. Leonowens initially asked for $150 in Singapore currency per month. Her additional request, to live in or near the missionary community to ensure she was not deprived of Western company, aroused suspicion in Mongkut, who cautioned in a letter, "we need not have teacher of Christianity as they are abundant here". King Mongkut and Leonowens came to an agreement: $100 per month and a residence near the royal palace. At a time when most transport in Bangkok was by boat, Mongkut did not wish to have to arrange for the teacher to get to work every day. Leonowens and Louis temporarily lived as guests of Mongkut's prime minister, and after the first house offered was found to be unsuitable, the family moved into a brick residence (wooden structures decayed quickly in Bangkok's climate) within walking distance of the palace. In 1867, Leonowens took a six-month leave of absence to visit her daughter Avis in England, intending to deposit Louis at a school in Ireland and return to Siam with Avis. However, due to unexpected delays and opportunities for further travel, Leonowens was still abroad in late 1868, when Mongkut fell ill and died. Leonowens did not return to Siam, although she continued to correspond with her former pupil, the new king Chulalongkorn. CANNOTANSWER | He ultimately succeeded in keeping Siam an independent nation, partly by familiarizing his heirs and harem with Western ways. | The King and I is the fifth musical by the team of Rodgers and Hammerstein. It is based on Margaret Landon's novel, Anna and the King of Siam (1944), which is in turn derived from the memoirs of Anna Leonowens, governess to the children of King Mongkut of Siam in the early 1860s. The musical's plot relates the experiences of Anna, a British schoolteacher who is hired as part of the King's drive to modernize his country. The relationship between the King and Anna is marked by conflict through much of the piece, as well as by a love to which neither can admit. The musical premiered on March 29, 1951, at Broadway's St. James Theatre. It ran for nearly three years, making it the fourth-longest-running Broadway musical in history at the time, and has had many tours and revivals.
In 1950, theatrical attorney Fanny Holtzmann was looking for a part for her client, veteran leading lady Gertrude Lawrence. Holtzmann realized that Landon's book would provide an ideal vehicle and contacted Rodgers and Hammerstein, who were initially reluctant but agreed to write the musical. The pair initially sought Rex Harrison to play the supporting part of the King, a role he had played in the 1946 film made from Landon's book, but he was unavailable. They settled on the young actor and television director Yul Brynner.
The musical was an immediate hit, winning Tony Awards for Best Musical, Best Actress (for Lawrence) and Best Featured Actor (for Brynner). Lawrence died unexpectedly of cancer a year and a half after the opening, and the role of Anna was played by several actresses during the remainder of the Broadway run of 1,246 performances. A hit London run and U.S. national tour followed, together with a 1956 film for which Brynner won an Academy Award, and the musical was recorded several times. In later revivals, Brynner came to dominate his role and the musical, starring in a four-year national tour culminating in a 1985 Broadway run shortly before his death.
Christopher Renshaw directed major revivals on Broadway (1996), winning the Tony Award for Best Revival, and in the West End (2000). A 2015 Broadway revival won another Tony for Best Revival. Both professional and amateur revivals of The King and I continue to be staged regularly throughout the English-speaking world.
Historical background
Mongkut, King of Siam, was about 57 years old in 1861. He had lived half his life as a Buddhist monk, was an able scholar, and founded a new order of Buddhism and a temple in Bangkok (paid for by his half-brother, King Nangklao). Through his decades of devotion, Mongkut acquired an ascetic lifestyle and a firm grasp of Western languages. When Nangklao died in 1850, Mongkut became king. At that time, various European countries were striving for dominance, and American traders sought greater influence in Southeast Asia. He ultimately succeeded in keeping Siam an independent nation, partly by familiarizing his heirs and harem with Western ways.
In 1861, Mongkut wrote to his Singapore agent, Tan Kim Ching, asking him to find a British lady to be governess to the royal children. At the time, the British community in Singapore was small, and the choice fell on a recent arrival there, Anna Leonowens (1831–1915), who was running a small nursery school in the colony. Leonowens was the Anglo-Indian daughter of an Indian Army soldier and the widow of Thomas Owens, a clerk and hotel keeper. She had arrived in Singapore two years previously, claiming to be the genteel widow of an officer and explaining her dark complexion by stating that she was Welsh by birth. Her deception was not detected until long after her death, and had still not come to light when The King and I was written.
Upon receiving the King's invitation, Leonowens sent her daughter, Avis, to school in England, to give Avis the social advantage of a prestigious British education, and traveled to Bangkok with her five-year-old son, Louis. King Mongkut had sought a Briton to teach his children and wives after trying local missionaries, who used the opportunity to proselytize. Leonowens initially asked for $150 in Singapore currency per month. Her additional request, to live in or near the missionary community to ensure she was not deprived of Western company, aroused suspicion in Mongkut, who cautioned in a letter, "we need not have teacher of Christianity as they are abundant here". King Mongkut and Leonowens came to an agreement: $100 per month and a residence near the royal palace. At a time when most transport in Bangkok was by boat, Mongkut did not wish to have to arrange for the teacher to get to work every day. Leonowens and Louis temporarily lived as guests of Mongkut's prime minister, and after the first house offered was found to be unsuitable, the family moved into a brick residence (wooden structures decayed quickly in Bangkok's climate) within walking distance of the palace.
In 1867, Leonowens took a six-month leave of absence to visit her daughter Avis in England, intending to deposit Louis at a school in Ireland and return to Siam with Avis. However, due to unexpected delays and opportunities for further travel, Leonowens was still abroad in late 1868, when Mongkut fell ill and died. Leonowens did not return to Siam, although she continued to correspond with her former pupil, the new king Chulalongkorn.
Creation
In 1950, British actress Gertrude Lawrence's business manager and attorney, Fanny Holtzmann, was looking for a new vehicle for her client when the 1944 Margaret Landon novel Anna and the King of Siam (a fictionalized version of Leonowens' experiences) was sent to her by Landon's agent. According to Rodgers biographer Meryle Secrest, Holtzmann was worried that Lawrence's career was fading. The 51-year-old actress had appeared only in plays, not in musicals, since Lady in the Dark closed in 1943. Holtzmann agreed that a musical based on Anna and the King of Siam would be ideal for her client, who purchased the rights to adapt the novel for the stage.
Holtzmann initially wanted Cole Porter to write the score, but he declined. She was going to approach Noël Coward next, but happened to meet Dorothy Hammerstein (Oscar's wife) in Manhattan. Holtzmann told Dorothy Hammerstein that she wanted Rodgers and Hammerstein to create a show for Lawrence, and asked her to see that her husband read a book that Holtzmann would send over. In fact, both Dorothy Rodgers and Dorothy Hammerstein had read the novel in 1944 and had urged their husbands to consider it as a possible subject for a musical. Dorothy Hammerstein had known Gertrude Lawrence since 1925, when they had both appeared in André Charlot's London Revue of 1924 on Broadway and on tour in North America.
Rodgers and Hammerstein had disliked Landon's novel as a basis for a musical when it was published, and their views still held. It consists of vignettes of life at the Siamese court, interspersed with descriptions of historical events unconnected with each other, except that the King creates most of the difficulties in the episodes, and Anna tries to resolve them. Rodgers and Hammerstein could see no coherent story from which a musical could be made until they saw the 1946 film adaptation, starring Irene Dunne and Rex Harrison, and how the screenplay united the episodes in the novel. Rodgers and Hammerstein were also concerned about writing a star vehicle. They had preferred to make stars rather than hire them, and engaging the legendary Gertrude Lawrence would be expensive. Lawrence's voice was also a worry: her limited vocal range was diminishing with the years, while her tendency to sing flat was increasing. Lawrence's temperament was another concern: though she could not sing like one, the star was known to be capable of diva-like behavior. In spite of this, they admired her acting – what Hammerstein called her "magic light", a compelling presence on stage – and agreed to write the show. For her part, Lawrence committed to remaining in the show until June 1, 1953, and waived the star's usual veto rights over cast and director, leaving control in the hands of the two authors.
Hammerstein found his "door in" to the play in Landon's account of a slave in Siam writing about Abraham Lincoln. This would eventually become the narrated dance, "The Small House of Uncle Thomas". Since a frank expression of romantic feelings between the King and Anna would be inappropriate in view of both parties' upbringing and prevailing social mores, Hammerstein wrote love scenes for a secondary couple, Tuptim, a junior wife of the King, and Lun Tha, a scholar. In the Landon work, the relationship is between Tuptim and a priest, and is not romantic. The musical's most radical change from the novel was to have the King die at the end of the musical. Also, since Lawrence was not primarily a singer, the secondary couple gave Rodgers a chance to write his usual "soaring" romantic melodies. In an interview for The New York Times, Hammerstein indicated that he wrote the first scene before leaving for London and the West End production of Carousel in mid-1950; he wrote a second scene while in the British capital.
The pair had to overcome the challenge of how to represent Thai speech and music. Rodgers, who had experimented with Asian music in his short-lived 1928 musical with Lorenz Hart titled Chee-chee, did not wish to use actual Thai music, which American audiences might not find accessible. Instead, he gave his music an exotic flavor, using open fifths and chords in unusual keys, in ways pleasant to Western ears. Hammerstein faced the problem of how to represent Thai speech; he and Rodgers chose to convey it by musical sounds, made by the orchestra. For the King's style of speech, Hammerstein developed an abrupt, emphatic way of talking, which was mostly free of articles, as are many East Asian languages. The forceful style reflected the King's personality and was maintained even when he sang, especially in his one solo, "A Puzzlement". Many of the King's lines, including his first utterance, "Who? Who? Who?", and much of the initial scene between him and Anna, are drawn from Landon's version. Nevertheless, the King is presented more sympathetically in the musical than in the novel or the 1946 film, as the musical omits the torture and burning at the stake of Lady Tuptim and her partner.
With Rodgers laid up with back trouble, Hammerstein completed most of the musical's book before many songs were set to music. Early on, Hammerstein contacted set designer Jo Mielziner and costume designer Irene Sharaff and asked them to begin work in coordination with each other. Sharaff communicated with Jim Thompson, an American who had revived the Thai silk industry after World War II. Thompson sent Sharaff samples of silk cloth from Thailand and pictures of local dress from the mid-19th century. One such picture, of a Thai woman in western dress, inspired the song "Western People Funny", sung by the King's chief wife, Lady Thiang, while dressed in western garb.
Producer Leland Hayward, who had worked with the duo on South Pacific, approached Jerome Robbins to choreograph a ballet for "The Small House of Uncle Thomas". Robbins was very enthusiastic about the project and asked to choreograph the other musical numbers as well, although Rodgers and Hammerstein had originally planned little other dancing. Robbins staged "The Small House of Uncle Thomas" as an intimate performance, rather than a large production number. His choreography for the parade of the King's children to meet their teacher ("March of the Royal Siamese Children") drew great acclaim. Robert Russell Bennett provided the orchestrations, and Trude Rittmann arranged the ballet music.
The pair discussed having an Act 1 musical scene involving Anna and the King's wives. The lyrics for that scene proved to be very difficult for Hammerstein to write. He first thought that Anna would simply tell the wives something about her past, and wrote such lyrics as "I was dazzled by the splendor/Of Calcutta and Bombay" and "The celebrities were many/And the parties very gay/(I recall a curry dinner/And a certain Major Grey)." Eventually, Hammerstein decided to write about how Anna felt, a song which would not only explain her past and her motivation for traveling with her son to the court of Siam, but also serve to establish a bond with Tuptim and lay the groundwork for the conflict that devastates Anna's relationship with the King. "Hello, Young Lovers", the resulting song, was the work of five exhausting weeks for Hammerstein. He finally sent the lyrics to Rodgers by messenger and awaited his reaction. Hammerstein considered the song his best work and was anxious to hear what Rodgers thought of it, but no comment came from Rodgers. Pride kept Hammerstein from asking. Finally, after four days, the two happened to be talking on the phone about other matters, and at the end of the conversation, Rodgers stated, very briefly, that the lyric was fine. Josh Logan, who had worked closely with Hammerstein on South Pacific, listened to the usually unflappable writer pour out his unhappy feelings. It was one of the few times that Hammerstein and Rodgers did not display a united front.
Casting and auditions
Although the part of the King was only a supporting role to Lawrence's Anna, Hammerstein and Rodgers thought it essential that a well-known theatrical actor play it. The obvious choice was Rex Harrison, who had played the King in the movie, but he was booked, as was Noël Coward. Alfred Drake, the original Curly in Oklahoma!, made contractual demands which were deemed too high. With time running short before rehearsals, finding an actor to play the King became a major concern. Mary Martin, the original Nellie Forbush in South Pacific, suggested that her co-star in a 1946 musical set in China, Lute Song, try for the role. Rodgers recounted the audition of the Russian-American performer, Yul Brynner:
Brynner termed Rodgers' account "very picturesque, but totally inaccurate". He recalled that as an established television director (in CBS's Starlight Theatre, for example), he was reluctant to go back on the stage. His wife, his agent and Martin finally convinced him to read Hammerstein's working script, and once he did, he was fascinated by the character of the King and was eager to do the project. In any case, Brynner's fierce, mercurial, dangerous, yet surprisingly sensitive King was an ideal foil for Lawrence's strong-willed, yet vulnerable Anna, and when the two finally came together in "Shall We Dance?", where the King hesitantly touches Anna's waist, the chemistry was palpable.
Pre-rehearsal preparations began in late 1950. Hammerstein had wanted Logan to direct and co-write the book, as he had for South Pacific, but when Logan declined, Hammerstein decided to write the entire book himself. Instead of Logan, the duo hired as director John van Druten, who had worked with Lawrence years earlier. The costume designer, Sharaff, wryly pointed the press to the incongruity of a Victorian British governess in the midst of an exotic court: "The first-act finale of The King and I will feature Miss Lawrence, Mr. Brynner, and a pink satin ball gown." Mielziner's set plan was the simplest of the four Rodgers and Hammerstein musicals he had worked on, with one main set (the throne room), a number of front-stage drops (for the ship and Anna's room, for example) and the entire stage cleared for "The Small House of Uncle Thomas".
The show was budgeted at $250,000 (US$ in dollars) making it the most expensive Rodgers and Hammerstein production to that point, and prompting some mockery that costs exceeded even their expensive flop Allegro. Investors included Hammerstein, Rodgers, Logan, Martin, Billy Rose and Hayward. The children who were cast as the young princes and princesses came from a wide range of ethnic backgrounds, including Puerto Rican or Italian, though none were Thai. Johnny Stewart was the original Prince Chulalongkorn but left the cast after only three months, replaced by Ronnie Lee. Sandy Kennedy was Louis, and Broadway veteran Larry Douglas played Lun Tha.
Shortly before rehearsals began in January 1951, Rodgers had the first Tuptim, Doretta Morrow, sing the entire score to Lawrence, including Lawrence's own songs. Lawrence listened calmly, but when she met Rodgers and Hammerstein the following day, she treated Rodgers coldly, apparently seeing the composer's actions as flaunting her vocal deficiencies. Hammerstein and Rodgers' doubts about whether Lawrence could handle the part were assuaged by the sheer force of her acting. James Poling, a writer for Collier's who was allowed to attend the rehearsals, wrote of Lawrence preparing "Shall I Tell You What I Think of You?":
At his first meeting with Sharaff, Brynner, who had only a fringe of hair, asked what he was to do about it. When told he was to shave it, Brynner was horror-struck and refused, convinced he would look terrible. He finally gave in during tryouts and put dark makeup on his shaved head. The effect was so well-received that it became Brynner's trademark.
Lawrence's health caused her to miss several rehearsals, though no one knew what was wrong with her. When the tryout opened in New Haven, Connecticut on February 27, 1951, the show was nearly four hours long. Lawrence, suffering from laryngitis, had missed the dress rehearsal but managed to make it through the first public performance. The Variety critic noted that despite her recent illness she "slinks, acts, cavorts, and in general exhibits exceedingly well her several facets for entertaining", but the Philadelphia Bulletin printed that her "already thin voice is now starting to wear a great deal thinner". Leland Hayward came to see the show in New Haven and shocked Rodgers by advising him to close it before it went any further. Additionally, when the show left New Haven for Boston for more tryout performances, it was still at least 45 minutes too long. Gemze de Lappe, who was one of the dancers, recalled one cut that she regretted:
This song, "Waiting", was a trio for Anna, the King, and the Kralahome (the King's prime minister). "Who Would Refuse?", the Kralahome's only solo, was also dropped. Left without a note to sing, Mervyn Vye abandoned the show and was replaced by John Juliano. "Now You Leave", a song for Lady Thiang (played by Dorothy Sarnoff in the original production), was also cut. After the cuts, Rodgers and Hammerstein felt that the first act was lacking something. Lawrence suggested that they write a song for Anna and the children. Mary Martin reminded them of a song that had been cut from South Pacific, "Suddenly Lucky". Hammerstein wrote a new lyric for the melody, and the resulting song became "Getting to Know You". "Western People Funny" and "I Have Dreamed" were also added in Boston.
Brynner regretted that there were not more tryout performances, feeling that the schedule did not give him an adequate opportunity to develop the complex role of the King. When he told this to Hammerstein and Rodgers, they asked what sort of performance they would get from him, and he responded, "It will be good enough, it will get the reviews."
Plot
Act 1
In 1862, a strong-willed, widowed schoolteacher, Anna Leonowens, arrives in Bangkok, Siam (later known as Thailand) at the request of the King of Siam to tutor his many children. Anna's young son, Louis, fears the severe countenance of the King's prime minister, the Kralahome, but Anna refuses to be intimidated ("I Whistle a Happy Tune"). The Kralahome has come to escort them to the palace, where they are expected to live – a violation of Anna's contract, which calls for them to live in a separate house. She considers returning to Singapore aboard the vessel that brought them, but goes with her son and the Kralahome.
Several weeks pass, during which Anna and Louis are confined to their palace rooms. The King receives a gift from the king of Burma, a lovely slave girl named Tuptim, to be one of his many wives. She is escorted by Lun Tha, a scholar who has come to copy a design for a temple, and the two are secretly in love. Tuptim, left alone, declares that the King may own her, but not her heart ("My Lord and Master"). The King gives Anna her first audience. The schoolteacher is a part of his plan for the modernization of Siam; he is impressed when she already knows this. She raises the issue of her house with him, he dismisses her protests and orders her to talk with his wives. They are interested in her, and she tells them of her late husband, Tom ("Hello, Young Lovers"). The King presents her new pupils; Anna is to teach those of his children whose mothers are in favor with him – several dozen – and is to teach their mothers as well. The princes and princesses enter in procession ("March of the Royal Siamese Children"). Anna is charmed by the children, and formality breaks down after the ceremony as they crowd around her.
Anna has not given up on the house, and teaches the children proverbs and songs extolling the virtues of home life, to the King's irritation. The King has enough worries without battling the schoolteacher, and wonders why the world has become so complicated ("A Puzzlement"). The children and wives are hard at work learning English ("The Royal Bangkok Academy"). The children are surprised by a map showing how small Siam is compared with the rest of the world ("Getting to Know You"). As the crown prince, Chulalongkorn, disputes the map, the King enters a chaotic schoolroom. He orders the pupils to believe the teacher but complains to Anna about her lessons about "home". Anna stands her ground and insists on the letter of her contract, threatening to leave Siam, much to the dismay of wives and children. The King orders her to obey as "my servant"; she repudiates the term and hurries away. The King dismisses school, then leaves, uncertain of his next action. Meanwhile, Lun Tha comes upon Tuptim, and they muse about having to hide their relationship ("We Kiss in a Shadow").
In her room, Anna replays the confrontation in her mind, her anger building ("Shall I Tell You What I Think of You?"). Lady Thiang, the King's head wife, tells Anna that the King is troubled by his portrayal in the West as a barbarian, as the British are being urged to take over Siam as a protectorate. Anna is shocked by the accusations – the King is a polygamist, but he is no barbarian – but she is reluctant to see him after their argument. Lady Thiang convinces her that the King is deserving of support ("Something Wonderful"). Anna goes to him and finds him anxious for reconciliation. The King tells her that the British are sending an envoy to Bangkok to evaluate the situation. Anna "guesses" – the only guise in which the King will accept advice – that the King will receive the envoy in European style, and that the wives will be dressed in Western fashion. Tuptim has been writing a play based on a book that Anna has lent her, Uncle Tom's Cabin, that can be presented to the guests. News is brought to the King that the British are arriving much earlier than thought, and so Anna and the wives are to stay up all night to prepare. The King assembles his family for a Buddhist prayer for the success of the venture and also promises before Buddha that Anna will receive her own house "as provided in agreement, etc., etc."
Act 2
The wives are dressed in their new European-style gowns, which they find confining ("Western People Funny"). In the rush to prepare, the question of undergarments has been overlooked, and the wives have practically nothing on underneath their gowns. When the British envoy, Sir Edward Ramsay, arrives and gazes at them through a monocle, they are panicked by the "evil eye" and lift their skirts over their heads as they flee. Sir Edward is diplomatic about the incident. When the King is called away, it emerges that Sir Edward is an old flame of Anna's, and they dance in remembrance of old times, as Edward urges her to return to British society. The King returns and irritably reminds them that dancing is for after dinner.
As final preparations for the play are made, Tuptim steals a moment to meet with Lun Tha. He tells her he has an escape plan, and she should be ready to leave after the performance ("I Have Dreamed"). Anna encounters them, and they confide in her ("Hello, Young Lovers", reprise). The play ("Small House of Uncle Thomas", narrated ballet) is presented in a Siamese ballet-inspired dance. Tuptim is the narrator, and she tells her audience of the evil King Simon of Legree and his pursuit of the runaway slave Eliza. Eliza is saved by Buddha, who miraculously freezes a river and conceals her in snow. Buddha then causes the river to melt, drowning King Simon and his hunting party. The anti-slavery message is blunt.
After the play, Sir Edward reveals that the British threat has receded, but the King is distracted by his displeasure at Tuptim's rebellious message. After Sir Edward leaves, Anna and the King express their delight at how well the evening went, and he presents her with a ring. Secret police report that Tuptim is missing. The King realizes that Anna knows something; she parries his inquiry by asking why he should care: Tuptim is just another woman to him. He is delighted; she is at last understanding the Siamese perspective. Anna tries to explain to him the Western customs of courtship and tells him what it is like for a young woman at a formal dance ("Shall We Dance?"). He demands that she teach him the dance. She does, and in that dance they experience and express a love for each other that they can never speak aloud. They are interrupted by the Kralahome. Tuptim has been captured, and a search is on for Lun Tha. The King resolves to punish Tuptim, though she denies she and Lun Tha were lovers. Anna tries to dissuade him, but he is determined that her influence shall not rule, and he takes the whip himself. He turns to lash Tuptim, but under Anna's gaze is unable to swing the whip, and hurries away. Lun Tha is found dead, and Tuptim is dragged off, swearing to kill herself; nothing more is heard about her. Anna asks the Kralahome to give her ring back to the King; both schoolteacher and minister state their wish that she had never come to Siam.
Several months pass with no contact between Anna and the King. Anna is packed and ready to board a ship leaving Siam. Chulalongkorn arrives with a letter from the King, who has been unable to resolve the conflicts within himself and is dying. Anna hurries to the King's bedside and they reconcile. The King persuades her to take back the ring and to stay and assist the next king, Chulalongkorn. The dying man tells Anna to take dictation from the prince, and instructs the boy to give orders as if he were King. The prince orders the end of the custom of kowtowing that Anna hated. The King grudgingly accepts this decision. As Chulalongkorn continues, prescribing a less arduous bow to show respect for the king, his father dies. Anna kneels by the late King, holding his hand and kissing it, as the wives and children bow or curtsey, a gesture of respect to old king and new.
Principal roles and notable performers
Musical numbers
Act I
Overture – Orchestra
"I Whistle a Happy Tune" – Anna and Louis
"My Lord and Master" – Tuptim
"Hello, Young Lovers" – Anna
"March of the Royal Siamese Children" – Orchestra
"A Puzzlement" – King
"The Royal Bangkok Academy" – Anna, Wives and Children
"Getting to Know You" – Anna, Wives and Children
"We Kiss in a Shadow" – Tuptim and Lun Tha
"A Puzzlement" (reprise) – Louis and Prince Chulalongkorn
"Shall I Tell You What I Think of You?" – Anna
"Something Wonderful" – Lady Thiang
"Buddhist Prayer"/Act I finale – King and Company
Act II
Entr'acte – Orchestra
"Western People Funny" – Lady Thiang and Wives
"I Have Dreamed" – Tuptim and Lun Tha
"Hello, Young Lovers" (reprise) – Anna
"The Small House of Uncle Thomas" (Ballet) – Tuptim and Wives
"Song of the King" – King and Anna
"Shall We Dance?" – Anna and the King
"I Whistle a Happy Tune" (reprise) – Anna
"Something Wonderful" (reprise, finale ultimo) – Orchestra
Productions
Original productions
The King and I opened on Broadway on March 29, 1951, with a wide expectation of a hit by the press and public. Both Hammerstein and Rodgers professed to be worried. The composer complained that most people were not concerned about whether the show was good, but whether it was better than South Pacific. Even the weather cooperated: heavy rain in New York stopped in time to allow the mostly wealthy or connected opening night audience to arrive dry at the St. James Theatre. Margaret Landon, author of the book on which the musical was based, was not invited to opening night.
Brynner turned in an outstanding performance that night, nearly stealing the show. Lawrence knew that the company was nervous because of her illnesses. The director, John van Druten, described how her opening night performance put all worries to rest: "She came on the stage with a new and dazzling quality, as if an extra power had been granted to the brilliance of her stage light. She was radiant and wonderful." The rave reviews in the newspapers lifted Lawrence's spirits, and she expected a lengthy run as Anna, first on Broadway, then in London's West End, and finally on film. Lawrence won a Tony Award for her leading role, while Brynner won the award for best featured actor. The show won the Tony for best musical, and designers Mielziner and Sharaff received awards in their categories.
De Lappe remembered the contrast between Lawrence's indifferent singing voice and the force of her performance:
Lawrence's death and aftermath
Lawrence had not yet discovered that she was nearing death from liver cancer, and her weakened condition was exacerbated by the demands of her role. At the age of 52, she was required to wear dresses weighing while walking or dancing a total of during a 3½ hour performance eight times a week. Lawrence found it hard to bear the heat in the theatre during the summer months. Her understudy, Constance Carpenter, began to replace her in matinees. Later in the year Lawrence's strength returned, and she resumed her full schedule, but by Christmas she was battling pleurisy and suffering from exhaustion. She entered the hospital for a full week of tests. Just nine months before her death, the cancer still was not detected. In February 1952, bronchitis felled her for another week, and her husband Richard Aldrich asked Rodgers and Hammerstein if they would consider closing the show for Easter week to give her a chance to recover fully. They denied his request, but agreed to replace her with the original Ado Annie from Oklahoma!, Celeste Holm, for six weeks during the summer. Meanwhile, Lawrence's performances were deteriorating, prompting audiences to become audibly restive. Rodgers and Hammerstein prepared a letter, never delivered, advising her that "eight times a week you are losing the respect of 1,500 people". On August 16, 1952, she fainted following a matinee performance and was admitted to the NewYork–Presbyterian Hospital. She slipped into a coma and died on September 6, 1952, at the age of 54. Her autopsy revealed liver cancer. On the day of her funeral, the performance of The King and I was cancelled. The lights of Broadway and the West End were dimmed because of her death, and she was buried in the ball gown she wore during Act 2.
Carpenter assumed the role of Anna and went on to play it for 620 performances. Other Annas during the run included Holm, Annamary Dickey and Patricia Morison. Although Brynner later boasted of never missing a show, he missed several, once when stagehands at the St. James Theatre accidentally struck him in the nose with a piece of scenery, another time due to appendicitis. Also, for three months in 1952 (and occasionally in 1953), Alfred Drake replaced Brynner. One young actor, Sal Mineo, began as an extra, then became an understudy for a younger prince, then an understudy and later a replacement for Crown Prince Chulalongkorn. Mineo began a close friendship and working relationship with Brynner which would last for more than a decade. Another replacement was Terry Saunders as Lady Thiang. She reprised the role in the 1956 film. The last of the production's 1,246 performances was on March 20, 1954. The run was, at the time, the fourth longest ever for a Broadway musical. A U.S. national tour began on March 22, 1954, at the Community Theatre, Hershey, Pennsylvania, starring Brynner and Morison. The tour played in 30 cities, closing on December 17, 1955, at the Shubert Theatre, Philadelphia.
The original London production opened on October 8, 1953, at the Theatre Royal, Drury Lane, and was warmly received by both audiences and critics; it ran for 946 performances. The show was restaged by Jerome Whyte. The cast featured Valerie Hobson, in her last role, as Anna; Herbert Lom as the King; and Muriel Smith as Lady Thiang. Martin Benson played the Kralahome, a role he reprised in the film. Eve Lister was a replacement for Hobson, and George Pastell replaced Lom during the long run. The New York Times theatre columnist Brooks Atkinson saw the production with Lister and Pastell, and thought the cast commonplace, except for Smith, whom he praised both for her acting and her voice. Atkinson commented, "The King and I is a beautifully written musical drama on a high plane of human thinking. It can survive in a mediocre performance."
The musical was soon premiered in Australia, Japan, and throughout Europe.
Early revivals
The first revival of The King and I in New York was presented by the New York City Center Light Opera Company in April and May 1956 for three weeks, starring Jan Clayton and Zachary Scott, directed by John Fearnley, with Robbins' choreography recreated by June Graham. Muriel Smith reprised her London role of Lady Thiang, and Patrick Adiarte repeated his film role, Chulalongkorn. This company presented the musical again in May 1960 with Barbara Cook and Farley Granger, again directed by Fearnley, in another three-week engagement. Atkinson admired the purity of Cook's voice and thought that she portrayed Anna with "a cool dignity that gives a little more stature to the part than it has had before." He noted that Granger brought "a fresh point of view – as well as a full head of hair". Joy Clements played Tuptim, and Anita Darian was Lady Thiang. City Center again presented the show in June 1963, starring Eileen Brennan and Manolo Fabregas, directed by Fearnley. Clements and Darian reprised Tuptim and Thiang respectively. In the final City Center Light Opera production, Michael Kermoyan played the King opposite Constance Towers for three weeks in May 1968. Darian again played Lady Thiang. For all of these 1960s productions, Robbins' choreography was reproduced by Yuriko, who had played the role of Eliza in the original Broadway production and reprised the role in the City Center productions.
The Music Theatre of Lincoln Center, with Rodgers as producer, presented the musical in mid-1964 at the New York State Theater, starring Risë Stevens and Darren McGavin, with Michael Kermoyan as the Kralahome. Lun Tha, Tuptim and Thiang were played by Frank Porretta, Lee Venora and Patricia Neway. Costumes were by Irene Sharaff, the designer for the original productions and the film adaptation. The director was Edward Greenberg, with the Robbins choreography again reproduced by Yuriko. This was Music Theatre's debut production, a five-week limited engagement.
The King and I was revived at London's Adelphi Theatre on October 10, 1973, running for 260 performances until May 25, 1974, starring Sally Ann Howes as Anna and Peter Wyngarde as the King. Roger Redfarn directed, and Sheila O'Neill choreographed. The production, which began in June 1973 with a tour of the English provinces, earned mixed to warm reviews. Michael Billington in The Guardian called the revival "well played and well sung". Although he was enthusiastic about Howes as Anna, Billington thought Wyngarde "too fragile to be capable of inspiring unholy terror". He praised Redfarn's production – "whipped along at a good pace and made a sumptuous eyeful out of the interpolated ballet on 'Uncle Tom's Cabin'." Less favorably, Robert Cushman in The Observer thought the production "scenically and economically under-nourished". He liked Wyngarde's King ("a dignified clown") but thought Howes not formidable enough to stand up to him as Anna. He noted that "she sings beautifully and the songs are the evening's real justification".
Brynner reprises the role
In early 1976, Brynner received an offer from impresarios Lee Gruber and Shelly Gross to star, in the role that he had created 25 years before, in a U.S. national tour and Broadway revival. The tour opened in Los Angeles on July 26, 1976, with Constance Towers reprising the role of Anna. On opening night, Brynner suffered so badly from laryngitis that he lip-synched, with his son Rock singing and speaking the role from the orchestra pit. The production traveled across the United States, selling out every city it appeared in and finally opening in New York at the Uris Theatre (today the Gershwin Theatre) on May 2, 1977. The production featured Martin Vidnovic as Lun Tha, and Susan Kikuchi danced the part of Eliza, recreating the role that her mother, Yuriko, had originated. Yuriko both directed the production and recreated the Robbins choreography. Sharaff again designed costumes, and Michael Kermoyan reprised the role of the Kralahome, while June Angela was Tuptim. The run lasted 696 performances, almost two years, during which each of the stars took off three weeks, with Angela Lansbury replacing Towers and Kermoyan replacing Brynner. The production was nominated for the Drama Desk Award for Outstanding Musical.
Brynner insisted on renovations to the Uris before he would play there, stating that the theatre resembled "a public toilet". He also insisted that dressing rooms on the tour and at the Uris be arranged to his satisfaction. According to his biographer Michelangelo Capua, for years afterwards, performers thanked Brynner for having backstage facilities across the country cleaned up. New York Times reviewer Clive Barnes said of the revival, "The cast is a good one. Mr. Brynner grinning fire and snorting charm is as near to the original as makes little difference" and called Towers "piquantly ladylike and sweet without being dangerously saccharine". However, fellow Times critic Mel Gussow warned, later in the run, that "to a certain extent [Brynner] was coasting on his charisma".
The tour was extended in 1979, after the New York run, still starring Brynner and Towers. The production then opened in the West End, at the London Palladium, on June 12, 1979, and was reported to have the largest advance sale in English history. Brynner stated, "It is not a play, it is a happening." Virginia McKenna starred in London as Anna, winning an Olivier Award for her performance. June Angela again played Tuptim, and John Bennett was the Kralahome. It ran until September 27, 1980.
Brynner took only a few months off after the London run ended, which contributed to his third divorce; he returned to the road in early 1981 in an extended U.S. tour of the same production, which eventually ended on Broadway. Mitch Leigh produced and directed, and Robbins' choreography was reproduced by Rebecca West, who also danced the role of Simon of Legree, which she had danced at the Uris in 1977. Patricia Marand played Anna, Michael Kermoyan was again the Kralahome, Patricia Welch was Tuptim. During 1981, Kate Hunter Brown took over as Anna, continuing in the role for at least a year and a half. By 1983, Mary Beth Peil was playing Anna. On September 13, 1983, in Los Angeles, Brynner celebrated his 4,000th performance as the King; on the same day he was privately diagnosed with inoperable lung cancer, and the tour had to shut down for a few months while he received painful radiation therapy to shrink the tumor. The Washington Post reviewer saw Brynner's "absolutely last farewell tour" in December 1984 and wrote of the star:
The production reached New York in January 1985, running for 191 performances at the Broadway Theatre, with Brynner, Peil, Welch and West still playing their roles. The part of Eliza was played by the leading man's fourth wife, Kathy Lee Brynner, and newcomer Jeffrey Bryan Davis played Louis. During the run, Brynner was unable to sing "A Puzzlement", due to what was announced as a throat and ear infection, but he "projected bursting vitality to the top of the balcony." He received a special Tony Award for his role as the King and had come to dominate the musical to such an extent that Peil was nominated merely for a featured actress Tony as Anna. Leigh was nominated for a Tony for his direction. New York Times critic Frank Rich praised Brynner but was ambivalent about the production, which he called "sluggish", writing that Brynner's "high points included his fond, paternalistic joshing with his brood in 'The March of the Siamese Children,' his dumb-show antics while attempting to force the English schoolteacher Anna to bow, and, of course, the death scene. ... The star aside, such showmanship is too often lacking in this King and I." The last performance was a special Sunday night show, on June 30, 1985, in honor of Brynner and his 4,625th performance of the role. Brynner died less than four months later, on October 10, 1985.
From August 1989 to March 1990, Rudolf Nureyev played the King in a North American tour opposite Liz Robertson, with Kermoyan as the Kralahome, directed by Arthur Storch and with the original Robbins choreography. Reviews were uniformly critical, lamenting that Nureyev failed to embody the character, "a King who stands around like a sulky teenager who didn't ask to be invited to this party. ... Not even his one dance number ... goes well. ... Rodgers and Hammerstein's King [is] supposed to be a compelling personality [but Nureyev's] bears no resemblance to the man described ... in the "Something Wonderful" number. The show therefore comes across as something of a charade ... with everyone pretending to be dealing with a fearsome potentate who, in fact, is displaying very little personality at all."
Renshaw's production: 1991 to 2003
The first major revival to break away from the original staging and interpretation was an Australian production directed by Christopher Renshaw, starring Hayley Mills as Anna, in 1991. Renshaw pointedly ignored the printed stage directions in the script when reshaping the piece into what he called "an authentic Thai experience". The production had a more sinister Siamese setting, a less elegant but more forceful Anna, and a younger King (Tony Marinyo). The attraction between Anna and the King was made explicit. Renshaw "cut a few lines and lyrics, and translated others into Thai to reinforce the atmosphere of a foreign land", and all Asian roles were played by Asian actors. He also asked choreographers Lar Lubovitch and Jerome Robbins to create a "spiritual" ballet, for the King's entrance in Act 1, and a procession with a sacred white elephant in Act II. According to Renshaw, "The reds and golds were very much inspired by what we saw at the royal palace", and set and costume elements reflected images, architecture and other designs in the palace and elsewhere in Bangkok. For example, the stage was framed by columns of elephant figures, a large emerald Buddha loomed over Act I, and hundreds of elephant images were woven into the set. Renshaw said, "The elephant is regarded as a very holy creature ... they believe the spirit of Buddha often resides in the form of the elephant."
Stanley Green, in his Encyclopedia of the Musical Theatre, viewed the central theme of The King and I as "the importance of mutual understanding between people of differing ethnic and cultural backgrounds", but Renshaw felt the musical suffered from 1950s attitudes when "Orientalism was used as an exoticism rather than a real understanding of the particular culture." He stated that his production was informed by authentic Thai cultural, aesthetic and religious ideas that he learned from visiting Thailand. A feature in Playbill commented that the production focused on the "clash of ideologies and cultures, of East versus West". Theatre arts professor Eileen Blumenthal, however, called the production "a King and I for the age of political correctness". While she acknowledged that the musical's treatment of Asian cultures had come to be viewed as insensitive over the decades since its premiere, she argued that Rodgers and Hammerstein's script was more sensitive than most orientalist literature of its day, in that "West learns from East as well as the other way around", and that, moreover, the musical's treatment of its Asian subject is fantastical, not intended to be realistic. She concluded that the show is a documentary of "who we've been" in the West, and that The King and I should not be suppressed, because it is "too good".
The production was reproduced on Broadway, opening on April 11, 1996, at the Neil Simon Theatre, starring Donna Murphy as Anna, who won a Tony Award for her performance, and Lou Diamond Phillips as the King, with Randall Duk Kim as the Kralahome, Jose Llana as Lun Tha, Joohee Choi as Tuptim and Taewon Yi Kim as Lady Thiang. Jenna Ushkowitz made her Broadway debut as one of the children. The production was nominated for eight Tony Awards, winning best revival and three others, with acting nominations for Phillips and Choi, who each won Theatre World Awards, and seven Drama Desk Awards, winning for Outstanding Revival of a Musical; Renshaw won for his direction. The production was praised for "lavish ... sumptuous" designs by Roger Kirk (costumes) and Brian Thomson (sets), who both won Tony and Drama Desk Awards for their work. Faith Prince played the role of Anna later in the run, followed by Marie Osmond. The revival ran on Broadway for 780 performances, and Kevin Gray replaced Phillips. The production then toured in the U.S., starring Mills and Victor Talmadge. Other Annas on this tour included Osmond, Sandy Duncan, Stefanie Powers and Maureen McGovern, who ended the tour in Chicago in June 1998.
The production opened on May 3, 2000, at the London Palladium, directed by Renshaw and choreographed by Lubovitch, and using the Kirk and Thomson designs. It reportedly took in £8 million in advance ticket sales. The cast included Elaine Paige as Anna and Jason Scott Lee as the King, with Sean Ghazi as Luan Tha and Ho Yi as the Kralahome. Lady Thiang was, again, played by Taewon Yi Kim, of whom The Observer wrote, "Her 'Something Wonderful' was just that." The show was nominated for an Olivier Award for outstanding musical. Later in the run, Lee was replaced as the King by Paul Nakauchi. The revival was generally well received. The Daily Mirror said: "The King and I waltzed back to the West End in triumph last night." The Daily Express observed, "Love it or loathe it, The King and I is an unstoppable smash." Variety, however, noted a lack of chemistry between the leads, commenting that "there’s something not entirely right in Siam when the greatest applause is reserved for Lady Thiang". Replacements included Josie Lawrence as Anna, Keo Woolford as the King and Saeed Jaffrey as the Kralahome. The show closed on January 5, 2002. It toured the UK in 2002 and 2003, with Stefanie Powers and then Marti Webb as Anna and Ronobir Lahiri as the King.
2004 to present
Another U.S. national tour began in mid-2004, directed by Baayork Lee (who appeared in the original production at age 5), with choreography by Susan Kikuchi, reproducing the Robbins original. Sandy Duncan again starred as Anna, while Martin Vidnovic played the King. He had played Lun Tha in the 1977 Broadway production and voiced the King in the 1999 animated film. Stefanie Powers took over for Duncan throughout 2005. Near the end of the tour in November 2005, Variety judged that Lee had successfully "harnessed the show's physical beauty and its intrinsic exotic flavor."
Jeremy Sams directed, and Kikuchi choreographed, a limited engagement of the musical in June 2009 at the Royal Albert Hall in London. It starred Maria Friedman and Daniel Dae Kim. A U.K. national tour starred Ramon Tikaram as the King and Josefina Gabrielle as Anna, directed by Paul Kerryson, with choreography by David Needham. It opened in December 2011 in Edinburgh and continued into May 2012.
In June 2014, Théâtre du Châtelet in Paris presented an English-language production of The King and I directed by Lee Blakeley and starring Susan Graham, who was "close to perfection as Anna", Lambert Wilson, "also excellent as the king", and Lisa Milne as Lady Thiang. The New York Times called it "a grand new staging that has set French critics searching for superlatives." The Renshaw production was revived again in April 2014 by Opera Australia for performances in Sydney, Melbourne and Brisbane, directed by Renshaw and featuring Lisa McCune and Teddy Tahu Rhodes. Some critics questioned anew the portrayal of the Siamese court as barbaric and asked why a show where "the laughs come from the Thai people mis-understanding British ... culture" should be selected for revival.
A fourth Broadway revival began previews on March 12 and opened on April 16, 2015 at the Vivian Beaumont Theater. The production was directed by Bartlett Sher and starred Kelli O'Hara as Anna and Ken Watanabe, as the King, in his American stage debut. It featured Ruthie Ann Miles as Lady Thiang, Paul Nakauchi as the Kralahome, Ashley Park as Tuptim, Conrad Ricamora as Lun Tha, Jake Lucas as Louis Leonowens, and Edward Baker-Duly as Sir Edward Ramsey. Choreography by Christopher Gattelli was based on the original Jerome Robbins dances. The designers included Michael Yeargan (sets), Catherine Zuber (costumes) and Donald Holder (lighting). Reviews were uniformly glowing, with Ben Brantley of The New York Times calling it a "resplendent production", praising the cast (especially O'Hara), direction, choreographer, designs and orchestra, and commenting that Sher "sheds a light [on the vintage material] that isn't harsh or misty but clarifying [and] balances epic sweep with intimate sensibility." The production was nominated for nine Tony Awards, winning four, including Best Revival of a Musical, Best Leading Actress (for O'Hara), Best Featured Actress (for Miles) and best costume design (for Zuber), and won the Drama Desk Award for Outstanding Revival. Replacements for the King included Jose Llana Hoon Lee and Daniel Dae Kim. Replacements for Anna included Marin Mazzie. The revival closed on June 26, 2016 after 538 performances. A U.S. national tour of the production began in November 2016. The cast included Laura Michelle Kelly as Anna, Llana as the King and Joan Almedilla as Lady Thiang. The production was reproduced at the London Palladium from June through September 2018. O'Hara and Watanabe reprised their roles, with Naoko Mori and Ruthie Ann Miles sharing the role of Lady Thiang, Na-Young Jeon as Tuptim, Dean John-Wilson as Lun Tha and Takao Osawa as the Kralahome. The production was nominated for 6 Laurence Olivier Awards, including Best Musical Revival. The production was filmed and shown in theatres in late 2018.
The King and I continues to be a popular choice for productions by community theatres, school and university groups, summer camps and regional theatre companies.
Adaptations
The musical was filmed in 1956 with Brynner re-creating his role opposite Deborah Kerr. The film was nominated for nine Academy Awards and won five, including Best Actor for Brynner, with Kerr nominated for Best Actress. Sharaff won for best costume design. The film was directed by Walter Lang (who was also nominated for an Oscar) and choreographed by Robbins. Marni Nixon dubbed the singing voice of Anna, and Rita Moreno played Tuptim. Saunders as Thiang, Adiarte as Chulalongkorn and Benson as the Kralahome reprised their stage roles, as did dancers Yuriko and de Lappe. Alan Mowbray appeared in the new role of the British Ambassador, while Sir Edward Ramsey (demoted to the Ambassador's aide) was played by Geoffrey Toone. The movie's script was faithful to the stage version, although it cut a few songs; reviews were enthusiastic. Thomas Hischak, in his The Rodgers and Hammerstein Encyclopedia, states: "It is generally agreed that the [movie] is the finest film adaptation of any R & H musical". Thai officials judged the film offensive to their monarchy and banned both film and musical in 1956.
A non-musical 1972 TV comedy series, starring Brynner, was broadcast in the U.S. by CBS but was cancelled in mid-season after 13 episodes. It followed the main storyline of the musical, focusing on the relationship between the title characters. Samantha Eggar played "Anna Owens", with Brian Tochi as Chulalongkorn, Keye Luke as the Kralahome, Eric Shea as Louis, Lisa Lu as Lady Thiang, and Rosalind Chao as Princess Serena. The first episode aired on September 17, 1972, and the last aired on December 31, 1972. Margaret Landon was unhappy with this series and charged the producers with "inaccurate and mutilated portrayals" of her literary property; she unsuccessfully sued for copyright infringement.
Jerome Robbins' Broadway was a Broadway revue, directed by Robbins, showcasing scenes from some of his most popular earlier works on Broadway. The show ran from February 1989 to September 1990 and won six Tony Awards, including best musical. It featured "Shall We Dance" and "The Small House of Uncle Thomas" ballet, with Kikuchi as Eliza. Yuriko was the choreographic "reconstruction assistant".
Rich Animation Studios, Morgan Creek Productions and Warner Bros. Pictures released a 1999 animated film adaptation of the musical. Except for using some of the songs and characters, the story is unrelated to the Rodgers and Hammerstein version. Geared towards children, the adaptation includes cuddly animals, including a dragon. Voices were provided by Miranda Richardson as Anna (speaking), Christiane Noll as Anna (singing), Martin Vidnovic as the King, Ian Richardson as the Kralahome and Adam Wylie as Louis. Hischak dislikes the film but praises the vocals, adding that one compensation of the film is hearing Barbra Streisand sing a medley of "I Have Dreamed", "We Kiss in a Shadow" and "Something Wonderful", which is borrowed from Streisand's 1985 The Broadway Album and played under the film's closing credits. He expressed surprise "that the Rodgers & Hammerstein Organization allowed it to be made" and noted that "children have enjoyed The King and I for five decades without relying on dancing dragons". Ted Chapin, president of that organization, has called the film his biggest mistake in granting permission for an adaptation.
Music and recordings
Musical treatment
In his music, Rodgers sought to give some of the music an Asian flavor. This is exhibited in the piercing major seconds that frame "A Puzzlement", the flute melody in "We Kiss in a Shadow", open fifths, the exotic 6/2 chords that shape "My Lord and Master", and in some of the incidental music. The music for "The Small House of Uncle Thomas" was for the most part written not by Rodgers, but by dance music arranger Trude Rittmann, though "Hello, Young Lovers" and a snatch of "A Puzzlement" are quoted within it.
Before Rodgers and Hammerstein began writing together, the AABA form for show tunes was standard, but many of the songs in The King and I vary from it. "I Have Dreamed" is an almost continuous repetition of variations on the same theme, until the ending, when it is capped by another melody. The first five notes (an eighth note triplet and two half notes) of "Getting to Know You" also carry the melody all the way through the refrain. According to Mordden, this refusal to accept conventional forms "is one reason why their frequently heard scores never lose their appeal. They attend to situation and they unveil character, but also, they surprise you."
According to Rodgers' biographer William Hyland, the score for The King and I is much more closely tied to the action than that of South Pacific, "which had its share of purely entertaining songs". For example, the opening song, "I Whistle a Happy Tune", establishes Anna's fear upon entering a strange land with her small son, but the merry melody also expresses her determination to keep a stiff upper lip. Hyland calls "Hello, Young Lovers" an archetypical Rodgers ballad: simple, with only two chords in the first eight bars, but moving in its directness.
Recordings
The original cast recording of The King and I was released by Decca Records in 1951. While John Kenrick admires it for the performances of the secondary couple, Larry Douglas and Doretta Morrow, and for the warmth of Lawrence's performance, he notes that "Shall We Dance" was abridged, and there are no children's voices – the chorus in "Getting to Know You" is made up of adults. In 2000, the recording was inducted into the Grammy Hall of Fame. Later in the same year Patrice Munsel and Robert Merrill made the first studio recording of selections from the musical. Hischak comments that in the 1953 London cast album, Valerie Hobson's vocals were no stronger than Lawrence's and that the highlight is Muriel Smith's "Something Wonderful" in a disc with too many cuts. He calls Anna's songs "well served" by Marni Nixon's singing in the 1956 film soundtrack and judges the recording as vocally satisfying; Kenrick describes it as a "mixed bag": he is pleased that it includes several songs cut from the film, and he praises Nixon's vocals, but he dislikes the supporting cast and suggests watching the movie instead for its visual splendor.
Kenrick prefers the 1964 Lincoln Center cast recording to the earlier ones, especially approving of the performances of Risë Stevens as Anna and Patricia Neway as Lady Thiang. The recording, for the first time, included the narrated ballet music for "The Small House of Uncle Thomas". Because a single LP limited a single-disc album to about fifty minutes, its inclusion required the absence of some of the other numbers. Kenrick finds the recording of the 1977 Broadway revival cast to be "[e]asily the most satisfying King & I on CD". He judges it to be Brynner's best performance, calling Towers "great" and Martin Vidnovic, June Angela and the rest of the supporting cast "fabulous", though lamenting the omission of the ballet. Hischak, in contrast, says that some might prefer Brynner in his earlier recordings, when he was "more vibrant". Kenrick enjoys the 1992 Angel studio recording mostly for the Anna of Julie Andrews, who he says is "pure magic" in a role she never performed on stage. Kenrick praises the performance of both stars on the 1996 Broadway revival recording, calling Lou Diamond Phillips "that rarity, a King who can stand free of Brynner's shadow". Hischak finds the soundtrack to the 1999 animated film with Christiane Noll as Anna and Martin Vidnovic as the King, as well as Barbra Streisand singing on one track, more enjoyable than the movie itself, but Kenrick writes that his sole use for that CD is as a coaster.
Critical reception
Opening night reviews of the musical were strongly positive. Richard Watts in the New York Post termed it "[a]nother triumph for the masters". Critic John Mason Brown stated, "They have done it again." The New York Times drama critic Brooks Atkinson wrote: "This time Messrs. Rodgers and Hammerstein are not breaking any fresh trails, but they are accomplished artists of song and words in the theater; and The King and I is a beautiful and lovable musical play." Barely less enthusiastic was John Lardner in The New Yorker, who wrote, "Even those of us who find [the Rodgers and Hammerstein musicals] a little too unremittingly wholesome are bound to take pleasure in the high spirits and technical skill that their authors, and producers, have put into them." Otis Guernsey wrote for the New York Herald Tribune, "Musicals and leading men will never be the same after last night ... Brynner set an example that will be hard to follow ... Probably the best show of the decade.
The balance of opinion among the critics of the original London production was generally favorable, with a few reservations. In The Observer, Ivor Brown predicted that the piece would "settle down for some years at Drury Lane." The anonymous critic of The Times compared the work to Gilbert and Sullivan: "Mr. Rodgers charmingly echoes Sullivan in the king's more topsy-turvy moments; and Mr. Hammerstein attends very skilfully to the lurking Gilbertian humour." Less favorably, in the Daily Express, John Barber called the work "this treacle-bin Mikado", and declared that only one of the cast, Muriel Smith, could really sing.
In 1963, New York Times reviewer Lewis Funke said of the musical, "Mr. Hammerstein put all of his big heart into the simple story of a British woman's adventures, heartaches, and triumphs. ... A man with a world-view, he seized the opportunity provided by [Landon's book] to underscore his thoughts on the common destiny of humanity." Fourteen years later, another Times reviewer, Clive Barnes, called the musical "unsophisticated and untroubled. Even its shadows are lightened with a laugh or a sweetly sentimental tear ... we can even be persuaded to take death as a happy ending".
The reworked 1996 Broadway production received mixed reviews. Vincent Canby of The New York Times disliked it: "This latest King and I might look like a million dollars as a regional production; on Broadway ... it's a disappointment. The score remains enchanting but, somewhere along the line, there has been a serious failure of the theatrical imagination." But Liz Smith enthused: "The King and I is perfect"; and the Houston Chronicle wrote, of the subsequent tour, "The King and I is the essence of musical theater, an occasion when drama, music, dance and decor combine to take the audience on an unforgettable journey." Critic Richard Christiansen in the Chicago Tribune observed, of a 1998 tour stop at the Auditorium Theatre: "Written in a more leisurely and innocent and less politically correct period, [The King and I] cannot escape the 1990s onus of its condescending attitude toward the pidgin English monarch and his people. And its story moves at a pace that's a mite too slow for this more hurried day and age." When the production reached London in 2000, however, it received uniformly positive reviews; the Financial Times called it "a handsome, spectacular, strongly performed introduction to one of the truly great musicals".
The 2015 Broadway revival initially received uniformly glowing reviews. Ben Brantley of The New York Times called it a "resplendent production" and commented:
Marilyn Stasio, in Variety, termed the production "sumptuous" and "absolutely stunning". She noted a "still pertinent theme: the dissonant dynamic when Western civilization tries to assert its values on ancient Eastern cultures." In USA Today, Elysa Gardner wrote of the grins and tears evoked by the production. "[W]atching these people from vastly different cultures carefully but joyfully reach for common ground ... can be almost unbearably moving. ... [Rodgers and Hammerstein's] textured humanity and appeals for tolerance, like their shimmering scores, only gain resonance as time passes." The production's attempts to achieve historical accuracy and explore the work's dark themes with a modern sensibility led some reviewers to conclude that it succeeds at converting the musical's orientalism into "a modern critique of racism and sexism". Other commentators, however, such as composer Mohammed Fairouz, argued that an attempt at sensitivity in production cannot compensate for "the inaccurate portrayal of the historic King Mongkut as a childlike tyrant and the infantilization of the entire Siamese population of the court", which demonstrate a racist subtext in the piece, even in 1951 when it was written. Benjamin Ivry opined that "the Rodgers and Hammerstein organization should shelve the [musical] as a humanitarian gesture toward Southeast Asian history and art".
Fifty years after its premiere, Rodgers biographer Meryle Secrest summed up the musical:
References
Bibliography
Block, Geoffrey (ed.) The Richard Rodgers Reader. New York: Oxford University Press (US), 2006. .
Bloom, Ken and Vlastnik, Frank. Broadway Musicals: The 101 Greatest Shows of All Time. New York: Black Dog & Leventhal Publishers, 2004. .
Capua, Michelangelo. Yul Brynner: A Biography, Jefferson, N.C.: McFarland & Co. Inc., 2006; .
Fordin, Hugh. Getting to Know Him: A Biography of Oscar Hammerstein II. Jefferson, N.C.: Da Capo Press, 1995 reprint of 1986 edition. .
Green, Stanley. "Encyclopedia of the Musical Theatre. Jefferson, N.C.: Da Capo Press, 1980. .
Hammerstein, Oscar Andrew. The Hammersteins: A Musical Theatre Family. New York: Black Dog & Leventhal Publishers, 2010. .
Hischak, Thomas S. The Rodgers and Hammerstein Encyclopedia. Westport, Conn.: Greenwood Publishing Group, 2007. .
Hyland, William G. Richard Rodgers. New Haven, Conn.: Yale University Press, 1998. .
Ma, Sheng-mei. "Rodgers and Hammerstein's 'Chopsticks' musicals". Literature/Film Quarterly, Vol. 31, Number 1 (2003), pp. 17–26.
Mordden, Ethan. Rodgers & Hammerstein. New York: Harry N. Abrams, Inc., 1992. .
Morgan, Susan. Bombay Anna: The Real Story and Remarkable Adventures of the King and I Governess, Berkeley, Cal.: University of California Press, 2008; .
Morley, Sheridan, Gertrude Lawrence. New York: McGraw-Hill, 1981. .
Nolan, Frederick. The Sound of Their Music: The Story of Rodgers and Hammerstein. Cambridge, Mass.: Applause Theatre and Cinema Books, 2002. .
Secrest, Meryle. Somewhere for Me: A Biography of Richard Rodgers. Cambridge, Mass.: Applause Theatre and Cinema Books, 2001. .
Further reading
Rodgers, Richard. Musical Stages: An Autobiography. Jefferson, N.C. Da Capo Press, 2002 reprint of 1975 edition. .
Ponti, Carla. The Musical Representation of Asian Characters in the Musicals of Richard Rodgers, University of California: San Diego, 2010.
External links
Performance at the 2015 Tony Awards
The King and I
1951 musicals
Broadway musicals
Buddhism in fiction
Drama Desk Award-winning musicals
Grammy Hall of Fame Award recipients
Monarchy in fiction
Musicals based on novels
Musicals by Rodgers and Hammerstein
Plays set in the 19th century
Polygamy in fiction
Thailand in fiction
Tony Award for Best Musical
West End musicals
Musicals inspired by real-life events
Cultural depictions of Anna Leonowens
Cultural depictions of Mongkut
Tony Award-winning musicals | true | [
"Savaale Samali () is a 1971 Indian Tamil-language film, starring Sivaji Ganesan and it is his 150th film. The film was remade in Telugu as Manchi Rojulu Vachchaayi (1972), in Malayalam as Randu Lokam (1977), in Kannada as Siritanakke Savaal (1978) and in Hindi as Charnon Ki Saugandh (1988). The film become a blockbuster at the box-office, running for over 100 days in theaters.\n\nPlot\n\nCast \n Sivaji Ganesan as Manickam\n Jayalalithaa as Sakunthala\n R. Muthuraman as Kalimuthu\n C. R. Vijayakumari as Kaveri\n M. N. Nambiar as Rajavel\n V. S. Raghavan as Ayyakannu\n T. K. Bhagavathi as Thirunavukarasu (Periya Pannai)\n S. Varalakshmi as Alamel\n Ganthimathi as Manickam Mother\n Nagesh as Chinna Pannai Singaram\n Kanakadurga as Kalimuthu's kife\n Samikannu as Villager\n A. Veerappan as Nattamai\n Usilai Mani as Villager\n Venkadachalam Pillai as Villager\n Comedy Shanmugam as Villager\n\nSoundtrack \nThe music was composed by M. S. Viswanathan, while the lyrics were written by Kannadasan and Malliyam Rajagopal. P. Susheela won her second National Award for the song \"Chitukuruvikenna\".\n\nReferences\n\nBibliography\n\nExternal links \n\n1970s Tamil-language films\n1971 films\nFilms scored by M. S. Viswanathan\nIndian films\nTamil films remade in other languages",
"HistoAtlas is a free collection of historic geographic information of the human culture all over the world. This is achieved as a time enabled geographic information system (GIS) on the web. All information can be used and edited freely and is intended to be a resource for education, archaeologists, historians and others.\n\nIntroduction\n\nHistoAtlas provides a system to actively maintain historical information derived from historical records and check if it is consistent. It is not meant for the discovery of new historical facts but to put everything together so it can be presented as one whole story.\n\nIt is an open project making sure everyone benefits from it. Everyone can use the information and can collaborate on the project. Its main audience is the general public but it should also have enough historical details so also historians should be able to enjoy it.\n\nHistoAtlas is not only able to visualize the changes in extent of different countries, but also the events that caused this change altogether, because these things are historically more important than just the change of a border.\n\nThe atlas has information about different aspects of history. A few examples.\n\n Political boundaries based on antique historical records or archeological research.\n Historical events like wars, disasters, discoveries, treaties and journeys that shaped the course of time.\n Facts about historical figures and their families that played an important role in history.\n The evolution of cultural aspects like languages and religions.\n\nStrategy\n\nHistoAtlas aims to be a free, multilingual historical encyclopedia, intended as the most precise open content global historical reference.\n\nIn concept there are some similarities to what online encyclopedia like Wikipedia are doing, with differences on how data is stored, presented and used. It is a history oriented geographic information system. Information is structured more transparently so it can be searched more efficiently and presented in different ways. Wikipedia and other encyclopedia are focused on articles and are not able to create maps efficiently because they are not meant to do this.\n\nBut like Wikipedia the information and application will be made available under an open license, meaning it will be maintained by volunteers who want to share their knowledge.\n\nConsistency\n\nThe vision that HistoAtlas wants to put forward is the one of a collaborative system. Scientists require that the information is correct. Making sure that data is correct will be a high priority of the system. For now only a basic system has been put in place, but this will be extended in the future.\n\nLicensing\n\nEverything developed for the project is licensed under an open license. It can be used and improved by anyone.\n\nAll data published under the project is put under a Creative Commons Attribution-ShareAlike License.\n\nSee also\nTable of Historical Maps\n\nReferences\n HistoAtlas official website\n Ian N. Gregory: A place in History A short introduction to HGIS by the lead developers of GBHGIS ISSN 1463-5194\n\nOnline encyclopedias\nWikis about geography\nGeographic information systems\nHistorical geographic information systems\nHistory websites\nHistory maps\nAtlases\nMaps\nBelgian online encyclopedias\nMap websites"
]
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[
"Spanish colonization of the Americas",
"Mexico"
]
| C_481aa00f10ba4a8c8e8950d309ce24a0_1 | When did the colonization of Mexico begin? | 1 | When did the Spanish colonization of Mexico begin? | Spanish colonization of the Americas | The Spanish conquest of Mexico is generally understood to be the Spanish conquest of the Aztec Empire (1519-21) which was the base for later conquests of other regions. Later conquests were protracted campaigns with less spectacular results than the conquest of the Aztecs. The Spanish conquest of Yucatan, the Spanish conquest of Guatemala, the war of Mexico's west, and the Chichimeca War in northern Mexico expanded Spanish control over territory and indigenous populations. But not until the Spanish conquest of Peru was the conquest of the Aztecs matched in scope by the victory over the Inca empire in 1532. The Spanish conquest of the Aztec empire was led by Hernan Cortes. The victory over the Aztecs was relatively quick, from 1519 to 1521, and aided by his Tlaxcala and other allies from indigenous city-states or altepetl. These polities allied against the Aztec empire, to which they paid tribute following conquest or threat of conquest, leaving the city-states' political hierarchy and social structure in place. The Spanish conquest of Yucatan was a much longer campaign, from 1551 to 1697, against the Maya peoples in the Yucatan Peninsula of present-day Mexico and northern Central America. Hernan Cortes' landing ashore at present day Veracruz and founding the Spanish city there on April 22, 1519 marked the beginning of 300 years of Spanish hegemony over the region. The assertion of royal control over the Kingdom of New Spain and the initial Spanish conquerors took over a decade, with importance of the region meriting the creation of the Viceroyalty of New Spain. Established by Charles V in 1535, the first viceroy was Don Antonio de Mendoza. Spain colonized and exerted control of Alta California through the Spanish missions in California until the Mexican secularization act of 1833. CANNOTANSWER | The Spanish conquest of Mexico is generally understood to be the Spanish conquest of the Aztec Empire (1519-21) which was the base for later conquests of other regions. | The Spanish colonization of the Americas began under the Crown of Castile and was spearheaded by the Spanish conquistadors. The Americas were invaded and incorporated into the Spanish Empire, with the exception of Brazil, British America, and some small regions of South America and the Caribbean. The crown created civil and religious structures to administer the vast territory. The main motivations for colonial expansion were profit through resource extraction and the spread of Catholicism through indigenous conversions.
Beginning with the 1492 arrival of Christopher Columbus in the Caribbean and gaining control over more territory for over three centuries, the Spanish Empire would expand across the Caribbean Islands, half of South America, most of Central America and much of North America. It is estimated that during the colonial period (1492–1832), a total of 1.86 million Spaniards settled in the Americas, and a further 3.5 million immigrated during the post-colonial era (1850–1950); the estimate is 250,000 in the 16th century and most during the 18th century, as immigration was encouraged by the new Bourbon dynasty.
By contrast, the indigenous population plummeted by an estimated 80% in the first century and a half following Columbus's voyages, primarily through the spread of disease, forced labor and slavery for resource extraction, and missionization. This has been argued to be the first large-scale act of genocide in the modern era.
In the early 19th century, the Spanish American wars of independence resulted in the secession and subsequent division of most Spanish territories in the Americas, except for Cuba and Puerto Rico, which were lost to the United States in 1898, following the Spanish–American War. The loss of these territories ended Spanish rule in the Americas.
Imperial expansion
The expansion of Spain’s territory took place under the Catholic Monarchs Isabella of Castile, Queen of Castile and her husband King Ferdinand, King of Aragon, whose marriage marked the beginning of Spanish power beyond the Iberian peninsula. They pursued a policy of joint rule of their kingdoms and created the initial stage of a single Spanish monarchy, completed under the eighteenth-century Bourbon monarchs. The first expansion of territory was the conquest of the Muslim Emirate of Granada on January 1, 1492, the culmination of the Christian Reconquest of the Iberian peninsula, held by the Muslims since 711. On March 31, 1492, the Catholic Monarch ordered the expulsion of the Jews in Spain who refused to convert to Christianity. On October 12, 1492, Genoese mariner Christopher Columbus made landfall in the Western Hemisphere.
Even though Castile and Aragon were ruled jointly by their respective monarchs, they remained separate kingdoms so that when the Catholic Monarchs gave official approval for the plans for Columbus’s voyage to reach "the Indies" by sailing West, the funding came from the queen of Castile. The profits from Spanish expedition flowed to Castile. The Kingdom of Portugal authorized a series of voyages down the coast of Africa and when they rounded the southern tip, were able to sail to India and further east. Spain sought similar wealth, and authorized Columbus’s voyage sailing west. Once the Spanish settlement in the Caribbean occurred, Spain and Portugal formalized a division of the world between them in the 1494 Treaty of Tordesillas. The deeply pious Isabella saw the expansion of Spain's sovereignty inextricably paired with the evangelization of non-Christian peoples, the so-called “spiritual conquest” with the military conquest. Pope Alexander VI in a 4 May 1493 papal decree, Inter caetera, divided rights to lands in the Western Hemisphere between Spain and Portugal on the proviso that they spread Christianity. These formal arrangements between Spain and Portugal and the pope were ignored by other European powers.
General principles of expansion
The Spanish expansion has sometimes been succinctly summed up as "gold, glory, God." The search for material wealth, the enhancement of the conquerors' and the crown's position, and the expansion of Christianity. In the extension of Spanish sovereignty to its overseas territories, authority for expeditions (entradas) of discovery, conquest, and settlement resided in the monarchy. Expeditions required authorization by the crown, which laid out the terms of such expedition. Virtually all expeditions after the Columbus voyages, which were funded by the crown of Castile, were done at the expense of the leader of the expedition and its participants. Although often the participants, conquistadors, are now termed “soldiers”, they were not paid soldiers in ranks of an army, but rather soldiers of fortune, who joined an expedition with the expectation of profiting from it. The leader of an expedition, the adelantado was a senior with material wealth and standing who could persuade the crown to issue him a license for an expedition. He also had to attract participants to the expedition who staked their own lives and meager fortunes on the expectation of the expedition’s success. The leader of the expedition pledged the larger share of capital to the enterprise, which in many ways functioned as a commercial firm. Upon the success of the expedition, the spoils of war were divvied up in proportion to the amount a participant initially staked, with the leader receiving the largest share. Participants supplied their own armor and weapons, and those who had a horse received two shares, one for himself, the second recognizing the value of the horse as a machine of war. For the conquest era, two names of Spaniards are generally known because they led the conquests of high indigenous civilizations, Hernán Cortés, leader of the expedition that conquered the Aztecs of Central Mexico, and Francisco Pizarro, leader of the conquest of the Inca in Peru.
Caribbean islands and the Spanish Main
Until his dying day, Columbus was convinced that he had reached Asia, the Indies. From that misperception the Spanish called the indigenous peoples of the Americas, "Indians" (indios), lumping a multiplicity of civilizations, groups, and individuals into a single category. The Spanish royal government called its overseas possessions "The Indies" until its empire dissolved in the nineteenth century. Patterns set in this early period of exploration and colonization were to endure as Spain expanded further, even as the region became less important in the overseas empire after the conquests of Mexico and Peru.
In the Caribbean, there was no large-scale Spanish conquest of indigenous peoples, but there was indigenous resistance. Columbus made four voyages to the West Indies as the monarchs granted Columbus vast powers of governance over this unknown part of the world. The crown of Castile financed more of his trans-Atlantic journeys, a pattern they would not repeat elsewhere. Effective Spanish settlement began in 1493, when Columbus brought livestock, seeds, agricultural equipment. The first settlement of La Navidad, a crude fort built on his first voyage in 1492, had been abandoned by the time he returned in 1493. He then founded the settlement of La Isabela on the island they named Hispaniola (now divided into Haiti and the Dominican Republic).
Spanish explorations of other islands in the Caribbean and what turned out to be the mainland of South and Central America occupied them for over two decades. Columbus had promised that the region he now controlled held a huge treasure in the form of gold and spices. Spanish settlers found relatively dense populations of indigenous peoples, who were agriculturalists living in villages ruled by leaders not part of a larger integrated political system. For the Spanish, these populations were there for their exploitation, to supply their own settlements with foodstuffs, but more importantly for the Spanish, to extract mineral wealth or produce another valuable commodity for Spanish enrichment. The labor of dense populations of Tainos were allocated to Spanish settlers in an institution known as the encomienda, where particular indigenous settlements were awarded to individual Spaniards. There was surface gold found in early islands, and holders of encomiendas put the indigenous to work panning for it. For all practical purposes, this was slavery. Queen Isabel put an end to formal slavery, declaring the indigenous to be vassals of the crown, but Spaniards' exploitation continued. The Taino population on Hispaniola went from hundreds of thousands or millions –- the estimates by scholars vary widely—but in the mid-1490s, they were practically wiped out. Disease and overwork, disruption of family life and the agricultural cycle (which caused severe food shortages to Spaniards dependent on them) rapidly decimated the indigenous population. From the Spanish viewpoint, their source of labor and viability of their own settlements was at risk. After the collapse of the Taino population of Hispaniola, Spaniards took to slave raiding and settlement on nearby islands, including Cuba, Puerto Rico, and Jamaica, replicating the demographic catastrophe there as well.
Dominican friar Antonio de Montesinos denounced Spanish cruelty and abuse in a sermon in 1511, which comes down to us in the writings of Dominican friar Bartolomé de las Casas. In 1542 Las Casas wrote a damning account of this genocide, A Short Account of the Destruction of the Indies. It was translated quickly to English and became the basis for the anti-Spanish writings, collectively known as the Black Legend.
The first mainland explorations by Spaniards were followed by a phase of inland expeditions and conquest. In 1500 the city of Nueva Cádiz was founded on the island of Cubagua, Venezuela, followed by the founding of Santa Cruz by Alonso de Ojeda in present-day Guajira peninsula. Cumaná in Venezuela was the first permanent settlement founded by Europeans in the mainland Americas, in 1501 by Franciscan friars, but due to successful attacks by the indigenous people, it had to be refounded several times, until Diego Hernández de Serpa's foundation in 1569. The Spanish founded San Sebastián de Uraba in 1509 but abandoned it within the year. There is indirect evidence that the first permanent Spanish mainland settlement established in the Americas was Santa María la Antigua del Darién.
Spaniards spent over 25 years in the Caribbean where their initial high hopes of dazzling wealth gave way to continuing exploitation of disappearing indigenous populations, exhaustion of local gold mines, initiation of cane sugar cultivation as an export product, and importation of African slaves as a labor force. Spaniards continued to expand their presence in the circum-Caribbean region with expeditions. One was by Francisco Hernández de Córdoba in 1517, another by Juan de Grijalva in 1518, which brought promising news of possibilities there. Even by the mid-1510s, the western Caribbean was largely unexplored by Spaniards. A well-connected settler in Cuba, Hernán Cortés received authorization in 1519 by the governor of Cuba to form an expedition of exploration-only to this far western region. That expedition was to make world history.
Mexico
It wasn’t until Spanish expansion into modern-day Mexico that Spanish explorers were able to find wealth on the scale that they had been hoping for. Unlike Spanish expansion in the Caribbean, which involved limited armed combat and sometimes the participation of indigenous allies, the conquest of central Mexico was protracted and necessitated indigenous allies who chose to participate for their own purposes. The conquest of the Aztec empire involved the combined effort of armies from many indigenous allies, spearheaded by a small Spanish force of conquistadors. The Aztec empire was a fragile confederation of city-states. Spaniards persuaded the leaders of subordinate city-states and one city-state never conquered by the Aztecs, Tlaxcala, to join them in huge numbers, with thousands, perhaps tens of thousands of indigenous warriors. The conquest of central Mexico is one of the best-documented events in world history, with accounts by the expedition leader Hernán Cortés, many other Spanish conquistadors, including Bernal Díaz del Castillo, indigenous allies from the city-states altepetl of Tlaxcala, Texcoco, and Huexotzinco, but also importantly, the defeated of Tenochtitlan, the Aztec capital. What can be called the visions of the vanquished, indigenous accounts written in the sixteenth century, are a rare case of history being written by those other than the victors.
The capture of the Aztec emperor Moctezuma II by Cortés was not a brilliant stroke of innovation, but came from the playbook that the Spanish developed during their period in the Caribbean. The composition of the expedition was the standard pattern, with a senior leader, and participating men investing in the enterprise with the full expectation of rewards if they did not lose their lives. Cortés’s seeking indigenous allies was a typical tactic of warfare: divide and conquer. But the indigenous allies had much to gain by throwing off Aztec rule. For the Spaniards’ Tlaxcalan allies, their crucial support gained them enduring political legacy into the modern era, the Mexican state of Tlaxcala.
The conquest of central Mexico sparked further Spanish conquests, following the pattern of conquered and consolidated regions being the launching point for further expeditions. These were often led by secondary leaders, such as Pedro de Alvarado. Later conquests in Mexico were protracted campaigns with less spectacular results than the conquest of the Aztecs. The Spanish conquest of Yucatán, the Spanish conquest of Guatemala, the conquest of the Tarascans/Purépecha of Michoacan, the war of Mexico's west, and the Chichimeca War in northern Mexico expanded Spanish control over territory and indigenous populations. But not until the Spanish conquest of Peru was the conquest of the Aztecs matched in scope by the victory over the Inca empire in 1532.
Peru
In 1532 at the Battle of Cajamarca a group of Spaniards under Francisco Pizarro and their indigenous Andean Indian auxiliaries native allies ambushed and captured the Emperor Atahualpa of the Inca Empire. It was the first step in a long campaign that took decades of fighting to subdue the mightiest empire in the Americas. In the following years, Spain extended its rule over the Empire of the Inca civilization.
The Spanish took advantage of a recent civil war between the factions of the two brothers Emperor Atahualpa and Huáscar, and the enmity of indigenous nations the Incas had subjugated, such as the Huancas, Chachapoyas, and Cañaris. In the following years the conquistadors and indigenous allies extended control over Greater Andes Region. The Viceroyalty of Perú was established in 1542. The last Inca stronghold was conquered by the Spanish in 1572.
Peru was the last territory in the continent under Spanish rule, which ended on 9 December 1824 at the Battle of Ayacucho (Spanish rule continued until 1898 in Cuba and Puerto Rico).
Chile
Chile was explored by Spaniards based in Peru, where Spaniards found the fertile soil and mild climate attractive. The Mapuche people of Chile, whom the Spaniards called Araucanians, resisted fiercely. The Spanish did establish the settlement of Chile in 1541, founded by Pedro de Valdivia.
Southward colonization by the Spanish in Chile halted after the conquest of Chiloé Archipelago in 1567. This is thought to have been the result of an increasingly harsh climate to the south, and the lack of a populous and sedentary indigenous population to settle among for the Spanish in the fjords and channels of Patagonia. South of the Bío-Bío River the Mapuche successfully reversed colonization with the Destruction of the Seven Cities in 1599–1604. This Mapuche victory laid the foundation for the establishment of a Spanish-Mapuche frontier called La Frontera. Within this frontier the city of Concepción assumed the role of "military capital" of Spanish-ruled Chile. With a hostile indigenous population, no obvious mineral or other exploitable resources, and little strategic value, Chile was a fringe area of colonial Spanish America, hemmed in geographically by the Andes to the east, Pacific Ocean to the west, and indigenous to the south.
New Granada
Between 1537 and 1543, six Spanish expeditions entered highland Colombia, conquered the Muisca Confederation, and set up the New Kingdom of Granada (). Gonzalo Jiménez de Quesada was the leading conquistador with his brother Hernán second in command. It was governed by the president of the Audiencia of Bogotá, and comprised an area corresponding mainly to modern-day Colombia and parts of Venezuela. The conquistadors originally organized it as a captaincy general within the Viceroyalty of Peru. The crown established the audiencia in 1549. Ultimately, the kingdom became part of the Viceroyalty of New Granada first in 1717 and permanently in 1739. After several attempts to set up independent states in the 1810s, the kingdom and the viceroyalty ceased to exist altogether in 1819 with the establishment of Gran Colombia.
Venezuela
Venezuela was first visited by Europeans during the 1490s, when Columbus was in control of the region, and the region as a source for indigenous slaves for Spaniards in Cuba and Hispaniola, since the Spanish destruction of the local indigenous population. There were few permanent settlements, but Spaniards settled the coastal islands of Cubagua and Margarita to exploit the pearl beds. Western Venezuela’s history took an atypical direction in 1528, when Spain’s first Hapsburg monarch, Charles I granted rights to colonize to the German banking family of the Welsers. Charles sought to be elected Holy Roman Emperor and was willing to pay whatever it took to achieve that. He became deeply indebted to the German Welser and Fugger banking families. To satisfy his debts to the Welsers, he granted them the right to colonize and exploit western Venezuela, with the proviso that they found two towns with 300 settlers each and construct fortifications. They established the colony of Klein-Venedig in 1528. They founded the towns of Coro and Maracaibo. They were aggressive in making their investment pay, alienating the indigenous populations and Spaniards alike. Charles revoked the grant in 1545, ending the episode of German colonization.
Río de la Plata and Paraguay
Argentina was not conquered or later exploited in the grand fashion of central Mexico or Peru, since the indigenous population was sparse and there were no precious metals or other valuable resources. Although today Buenos Aires at the mouth of Río de la Plata is a major metropolis, it held no interest for Spaniards and the 1535-36 settlement failed and was abandoned by 1541. Pedro de Mendoza and Domingo Martínez de Irala, who led the original expedition, went inland and founded Asunción, Paraguay, which became the Spaniards' base. A second (and permanent) settlement was established in 1580 by Juan de Garay, who arrived by sailing down the Paraná River from Asunción, now the capital of Paraguay. Exploration from Peru resulted in the foundation of Tucumán in what is now northwest Argentina.
End of era of exploration
The spectacular conquests of central Mexico (1519–21) and Peru (1532) sparked Spaniards' hopes of finding yet another high civilization. Expeditions continued into the 1540s and regional capitals founded by the 1550s. Among the most notable expeditions are Hernando de Soto into southeast North America, leaving from Cuba (1539–42); Francisco Vázquez de Coronado to northern Mexico (1540–42), and Gonzalo Pizarro to Amazonia, leaving from Quito, Ecuador (1541–42). In 1561, Pedro de Ursúa led an expedition of some 370 Spanish (including women and children) into Amazonia to search for El Dorado. Far more famous now is Lope de Aguirre, who led a mutiny against Ursúa, who was murdered. Aguirre subsequently wrote a letter to Philip II bitterly complaining about the treatment of conquerors like himself in the wake of the assertion of crown control over Peru. An earlier expedition that left in 1527 was led by Pánfilo Naváez, who was killed early on. Survivors continued to travel among indigenous groups in the North American south and southwest until 1536. Álvar Núñez Cabeza de Vaca was one of four survivors of that expedition, writing an account of it. The crown later sent him to Asunción, Paraguay to be adelantado there. Expeditions continued to explore territories in hopes of finding another Aztec or Inca empire, with no further success. Francisco de Ibarra led an expedition from Zacatecas in northern New Spain, and founded Durango. Juan de Oñate, is sometimes referred to as "the Last Conquistador", expanded Spanish sovereignty over what is now New Mexico. Like previous conquistadors, Oñate engaged in widespread abuses of the Indian population. Shortly after founding Santa Fe, Oñate was recalled to Mexico City by the Spanish authorities. He was subsequently tried and convicted of cruelty to both natives and colonists and banished from New Mexico for life.
Factors affecting Spanish settlement
Two major factors affected the density of Spanish settlement in the long term. One was the presence or absence of dense, hierarchically organized indigenous populations that could be made to work. The other was the presence or absence of an exploitable resource for the enrichment of settlers. Best was gold, but silver was found in abundance.
The two main areas of Spanish settlement after 1550 were Mexico and Peru, the sites of the Aztec and Inca indigenous civilizations. Equally important, rich deposits of the valuable metal silver. Spanish settlement in Mexico “largely replicated the organization of the area in preconquest times” while in Peru, the center of the Incas was too far south, too remote, and at too high an altitude for the Spanish capital. The capital Lima was built near the Pacific coast. The capitals of Mexico and Peru, Mexico City and Lima came to have large concentrations of Spanish settlers and became the hubs of royal and ecclesiastical administration, large commercial enterprises and skilled artisans, and centers of culture. Although Spaniards had hoped to find vast quantities of gold, the discovery of large quantities of silver became the motor of the Spanish colonial economy, a major source of income for the Spanish crown, and transformed the international economy. Mining regions in both Mexico were remote, outside the zone of indigenous settlement in central and southern Mexico Mesoamerica, but mines in Zacatecas (founded 1548) and Guanajuato (founded 1548) were key hubs in the colonial economy. In Peru, silver was found in a single silver mountain, the Cerro Rico de Potosí, still producing silver in the 21st century. Potosí (founded 1545) was in the zone of dense indigenous settlement, so that labor could be mobilized on traditional patterns to extract the ore. An important element for productive mining was mercury for processing high-grade ore. Peru had a source in Huancavelica (founded 1572), while Mexico had to rely on mercury imported from Spain.
Establishment of early settlements
The Spanish founded towns in the Caribbean, on Hispaniola and Cuba, on a pattern that became spatially similar throughout Spanish America. A central plaza had the most important buildings on the four sides, especially buildings for royal officials and the main church. A checkerboard pattern radiated outward. Residences of the officials and elites were closest to the main square. Once on the mainland, where there were dense indigenous populations in urban settlements, the Spanish could build a Spanish settlement on the same site, dating its foundation to when that occurred. Often they erected a church on the site of an indigenous temple. They replicated the existing indigenous network of settlements, but added a port city. The Spanish network needed a port city so that inland settlements could be connected by sea to Spain. In Mexico, the Hernán Cortés and the men of his expedition founded of the port town of Veracruz in 1519 and constituted themselves as the town councilors, as a means to throw off the authority of the governor of Cuba, who did not authorize an expedition of conquest. start of the conquest of central Mexico; once the Aztec empire was toppled, they founded Mexico City on the ruins of the Aztec capital. Their central official and ceremonial area was built on top of Aztec palaces and temples. In Peru, Spaniards founded the city of Lima as their capital and its nearby port of Callao, rather than the high-altitude site of Cuzco, the center of Inca rule. Spaniards established a network of settlements in areas they conquered and controlled. Important ones include Santiago de Guatemala (1524); Puebla (1531); Querétaro (ca. 1531); Guadalajara (1531–42); Valladolid (now Morelia), (1529–41); Antequera (now Oaxaca(1525–29); Campeche (1541); and Mérida. In southern Central and South America, settlements were founded in Panama (1519); León, Nicaragua (1524); Cartagena (1532); Piura (1532); Quito (1534); Trujillo (1535); Cali (1537) Bogotá (1538); Quito (1534); Cuzco 1534); Lima (1535); Tunja, (1539); Huamanga 1539; Arequipa (1540); Santiago de Chile (1544) and Concepción, Chile (1550). Settled from the south were Buenos Aires (1536, 1580); Asunción (1537); Potosí (1545); La Paz, Bolivia (1548); and Tucumán (1553).
Ecological conquests
The Columbian Exchange was as significant as the clash of civilizations. Arguably the most significant introduction was diseases brought to the Americas, which devastated indigenous populations in a series of epidemics. The loss of indigenous population had a direct impact on Spaniards as well, since increasingly they saw those populations as a source of their own wealth, disappearing before their eyes.
In the first settlements in the Caribbean, the Spaniards deliberately brought animals and plants that transformed the ecological landscape. Pigs, cattle, sheep, goats, and chickens allowed Spaniards to eat a diet with which they were familiar. But the importation of horses transformed warfare for both the Spaniards and the indigenous. Where the Spaniards had exclusive access to horses in warfare, they had an advantage over indigenous warriors on foot. They were initially a scarce commodity, but horse breeding became an active industry. Horses that escaped Spanish control were captured by indigenous; many indigenous also raided for horses. Mounted indigenous warriors were significant foes for Spaniards. The Chichimeca in northern Mexico, the Comanche in the northern Great Plains and the Mapuche in southern Chile and the pampas of Argentina resisted Spanish conquest. For Spaniards, the fierce Chichimecas barred them for exploiting mining resources in northern Mexico. Spaniards waged a fifty-year war (ca. 1550-1600) to subdue them, but peace was only achieved by Spaniards’ making significant donations of food and other commodities the Chichimeca demanded. "Peace by purchase" ended the conflict. In southern Chile and the pampas, the Araucanians (Mapuche) prevented further Spanish expansion. The image of mounted Araucanians capturing and carrying off white women was the embodiment of Spanish ideas of civilization and barbarism.
Cattle multiplied quickly in areas where little else could turn a profit for Spaniards, including northern Mexico and the Argentine pampas. The introduction of sheep production was an ecological disaster in places where they were raised in great numbers, since they ate vegetation to the ground, preventing the regeneration of plants.
The Spanish brought new crops for cultivation. They preferred wheat cultivation to indigenous sources of carbohydrates: casava, maize (corn), and potatoes, initially importing seeds from Europe and planting in areas where plow agriculture could be utilized, such as the Mexican Bajío. They also imported cane sugar, which was a high-value crop in early Spanish America. Spaniards also imported citrus trees, establishing orchards of oranges, lemons, and limes, and grapefruit. Other imports were figs, apricots, cherries, pears, and peaches among others. The exchange did not go one way. Important indigenous crops that transformed Europe were the potato and maize, which produced abundant crops that led to the expansion of populations in Europe. Chocolate (Nahuatl: chocolate) and vanilla were cultivated in Mexico and exported to Europe. Among the foodstuffs that became staples in European cuisine and could be grown there were tomatoes, squashes, bell peppers, and to a lesser extent in Europe chili peppers; also nuts of various kinds: Walnuts, cashews, pecans, and peanuts.
Civil governance
The empire in the Indies was a newly established dependency of the kingdom of Castile alone, so crown power was not impeded by any existing cortes (i.e. parliament), administrative or ecclesiastical institution, or seigneurial group. The crown sought to establish and maintain control over its overseas possessions through a complex, hierarchical bureaucracy, which in many ways was decentralized. The crown asserted is authority and sovereignty of the territory and vassals it claimed, collected taxes, maintained public order, meted out justice, and established policies for governance of large indigenous populations. Many institutions established in Castile found expression in The Indies from the early colonial period. Spanish universities expanded to train lawyer-bureaucrats (letrados) for administrative positions in Spain and its overseas empire.
The end of the Habsburg dynasty in 1700 saw major administrative reforms in the eighteenth century under the Bourbon monarchy, starting with the first Spanish Bourbon monarch, Philip V (r. 1700-1746) and reaching its apogee under Charles III (r. 1759-1788). The reorganization of administration has been called "a revolution in government." Reforms sought to centralize government control through reorganization of administration, reinvigorate the economies of Spain and the Spanish empire through changes in mercantile and fiscal policies, defend Spanish colonies and territorial claims through the establishment of a standing military, undermine the power of the Catholic church, and rein in the power of the American-born elites.
Early institutions of governance
The crown relied on ecclesiastics as important councilors and royal officials in the governance of their overseas territories. Archbishop Juan Rodríguez de Fonseca, Isabella's confessor, was tasked with reining in Columbus's independence. He strongly influenced the formulation of colonial policy under the Catholic Monarchs, and was instrumental in establishing the Casa de Contratación (House of Trade) (1503), which enabled crown control over trade and immigration. Ovando fitted out Magellan's voyage of circumnavigation, and became the first President of the Council of the Indies in 1524. Ecclesiastics also functioned as administrators overseas in the early Caribbean period, particularly Frey Nicolás de Ovando, who was sent to investigate the administration of Francisco de Bobadilla, the governor appointed to succeed Christopher Columbus. Later ecclesiastics served as interim viceroys, general inspectors (visitadores), and other high posts.
House of Trade
The crown established control over trade and emigration to the Indies with the 1503 establishment the Casa de Contratación (House of Trade) in Seville. Ships and cargoes were registered, and emigrants vetted to prevent migration of anyone not of old Christian heritage, (i.e., with no Jewish or Muslim ancestry), and facilitated the migration of families and women. In addition, the Casa de Contratación took charge of the fiscal organization, and of the organization and judicial control of the trade with the Indies.
Assertion of royal control in the early Caribbean
The politics of asserting royal authority to oppose Columbus resulted in the suppression of his privileges and the creation of territorial governance under royal authority. These governorates, also called as provinces, were the basic of the territorial government of the Indies, and arose as the territories were conquered and colonized. To carry out the expedition (entrada), which entailed exploration, conquest, and initial settlement of the territory, the king, as sovereign, and the appointed leader of an expedition (adelantado) agreed to an itemized contract (capitulación), with the specifics of the conditions of the expedition in a particular territory. The individual leaders of expeditions assumed the expenses of the venture and in return received as reward the grant from the government of the conquered territories; and in addition, they received instructions about treating the indigenous peoples.
After the end of the period of conquests, it was necessary to manage extensive and different territories with a strong bureaucracy. In the face of the impossibility of the Castilian institutions to take care of the New World affairs, other new institutions were created.
As the basic political entity it was the governorate, or province. The governors exercised judicial ordinary functions of first instance, and prerogatives of government legislating by ordinances. To these political functions of the governor, it could be joined the military ones, according to military requirements, with the rank of Captain general. The office of captain general involved to be the supreme military chief of the whole territory and he was responsible for recruiting and providing troops, the fortification of the territory, the supply and the shipbuilding.
Beginning in 1522 in the newly conquered Mexico, government units in the Spanish Empire had a royal treasury controlled by a set of oficiales reales (royal officials). There were also sub-treasuries at important ports and mining districts. The officials of the royal treasury at each level of government typically included two to four positions: a tesorero (treasurer), the senior official who guarded money on hand and made payments; a contador (accountant or comptroller), who recorded income and payments, maintained records, and interpreted royal instructions; a factor, who guarded weapons and supplies belonging to the king, and disposed of tribute collected in the province; and a veedor (overseer), who was responsible for contacts with native inhabitants of the province, and collected the king's share of any war booty. The veedor, or overseer, position quickly disappeared in most jurisdictions, subsumed into the position of factor. Depending on the conditions in a jurisdiction, the position of factor/veedor was often eliminated, as well.
The treasury officials were appointed by the king, and were largely independent of the authority of the viceroy, audiencia president or governor. On the death, unauthorized absence, retirement or removal of a governor, the treasury officials would jointly govern the province until a new governor appointed by the king could take up his duties. Treasury officials were supposed to be paid out of the income from the province, and were normally prohibited from engaging in income-producing activities.
Spanish law and indigenous peoples
The protection of the indigenous populations from enslavement and exploitation by Spanish settlers were established in the Laws of Burgos, 1512–1513. The laws were the first codified set of laws governing the behavior of Spanish settlers in the Americas, particularly with regards to treatment of native Indians in the institution of the encomienda. They forbade the maltreatment of natives, and endorsed the Indian Reductions with attempts of conversion to Catholicism. Upon their failure to effectively protect the indigenous and following the Spanish conquest of the Aztec Empire and the Spanish conquest of Peru, more stringent laws to control conquerors' and settlers' exercise of power, especially their maltreatment of the indigenous populations, were promulgated, known as the New Laws (1542). The crown aimed to prevent the formation of an aristocracy in the Indies not under crown control.
Queen Isabel was the first monarch that laid the first stone for the protection of the indigenous peoples in her testament in which the Catholic monarch prohibited the enslavement of the indigenous peoples of the Americas. Then the first such in 1542; the legal thought behind them was the basis of modern International law.
The Valladolid debate (1550–1551) was the first moral debate in European history to discuss the rights and treatment of a colonized people by colonizers. Held in the Colegio de San Gregorio, in the Spanish city of Valladolid, it was a moral and theological debate about the colonization of the Americas, its justification for the conversion to Catholicism and more specifically about the relations between the European settlers and the natives of the New World. It consisted of a number of opposing views about the way natives were to be integrated into colonial life, their conversion to Christianity and their rights and obligations. According to the French historian Jean Dumont The Valladolid debate was a major turning point in world history “In that moment in Spain appeared the dawn of the human rights”.
The indigenous populations in the Caribbean became the focus of the crown in its roles as sovereigns of the empire and patron of the Catholic Church. Spanish conquerors holding grants of indigenous labor in encomienda ruthlessly exploited them. A number of friars in the early period came to the vigorous defense of the indigenous populations, who were new converts to Christianity. Prominent Dominican friars in Santo Domingo, especially Antonio de Montesinos and Bartolomé de Las Casas denounced the maltreatment and pressed the crown to act to protect the indigenous populations. The crown enacted Laws of Burgos (1513) and the Requerimiento to curb the power of the Spanish conquerors and give indigenous populations the opportunity to peacefully embrace Spanish authority and Christianity. Neither was effective in its purpose. Las Casas was officially appointed Protector of the Indians and spent his life arguing forcefully on their behalf. The New Laws of 1542 were the result, limiting the power of encomenderos, the private holders of grants to indigenous labor previously held in perpetuity. The crown was open to limiting the inheritance of encomiendas in perpetuity as a way to extinguish the coalescence of a group of Spaniards impinging on royal power. In Peru, the attempt of the newly appointed viceroy, Blasco Núñez Vela, to implement the New Laws so soon after the conquest sparked a revolt by conquerors against the viceroy and the viceroy was killed in 1546. In Mexico, Don Martín Cortés, the son and legal heir of conqueror Hernán Cortés, and other heirs of encomiendas led a failed revolt against the crown. Don Martín was sent into exile, while other conspirators were executed.
Indigenous peoples and colonial rule
The conquest of the Aztec and Inca empires ended their sovereignty over their respective territorial expanses, replaced by the Spanish Empire. However, the Spanish Empire could not have ruled these vast territories and dense indigenous populations without utilizing the existing indigenous political and economic structures at the local level. A key to this was the cooperation between most indigenous elites with the new ruling structure. The Spanish recognized indigenous elites as nobles and gave them continuing standing in their communities. Indigenous elites could use the noble titles don and doña, were exempt from the head-tax, and could entail their landholdings into cacicazgos. These elites played an intermediary role between the Spanish rulers and indigenous commoners. Since in central and southern Mexico (Mesoamerica) and the highland Andes indigenous peoples had existing traditions of payment of tribute and required labor service, the Spanish could tap into these systems to extract wealth. There were few Spaniards and huge indigenous populations, so utilizing indigenous intermediaries was a practical solution to the incorporation of the indigenous population into the new regime of rule. By maintaining hierarchical divisions within communities, indigenous noblemen were the direct interface between the indigenous and Spanish spheres and kept their positions so long as they continued to be loyal to the Spanish crown.
The exploitation and demographic catastrophe that indigenous peoples experienced from Spanish rule in the Caribbean also occurred
as Spaniards expanded their control over territories and their indigenous populations. The crown set the indigenous communities legally apart from Spaniards (as well as Blacks), who comprised the República de Españoles, with the creation of the República de Indios. The crown attempted to curb Spaniards' exploitation, banning Spaniards' bequeathing their private grants of indigenous communities' tribute and encomienda labor in 1542 in the New Laws. In Mexico, the crown established the General Indian Court (Juzgado General de Indios), which heard disputes affecting individual indigenous as well as indigenous communities. Lawyers for these cases were funded by a half-real tax, an early example of legal aid for the poor. A similar legal apparatus was set up in Lima.
The Spaniards systematically attempted to transform structures of indigenous governance to those more closely resembling those of Spaniards, so the indigenous city-state became a Spanish town and the indigenous noblemen who ruled became officeholders of the town council (cabildo). Although the structure of the indigenous cabildo looked similar to that of the Spanish institution, its indigenous functionaries continued to follow indigenous practices. In central Mexico, there exist minutes of the sixteenth-century meetings in Nahuatl of the Tlaxcala cabildo. Indigenous noblemen were particularly important in the early period of colonization, since the economy of the encomienda was initially built on the extraction of tribute and labor from the commoners in their communities. As the colonial economy became more diversified and less dependent on these mechanisms for the accumulation of wealth, the indigenous noblemen became less important for the economy. However, noblemen became defenders of the rights to land and water controlled by their communities. In colonial Mexico, there are petitions to the king about a variety of issues important to particular indigenous communities when the noblemen did not get a favorable response from the local friar or priest or local royal officials.
Works by historians in the twentieth and twenty-first centuries have expanded the understanding of the impact of the Spanish conquest and changes during the more than three hundred years of Spanish rule. There are many such works for Mexico, often drawing on native-language documentation in Nahuatl, Only the most valuable low bulk products would be exported.
Agricultural export products
Cacao beans for chocolate emerged as an export product as Europeans developed a taste for sweetened chocolate. Another important export product was cochineal, a color-fast red dye made from dried insects living on cacti. It became the second-most valuable export from Spanish America after silver.
19th century
During the Napoleonic Peninsular War in Europe between France and Spain, assemblies called juntas were established to rule in the name of Ferdinand VII of Spain.
The Libertadores (Spanish and Portuguese for "Liberators") were the principal leaders of the Spanish American wars of independence. They were predominantly criollos (Americas-born people of European ancestry, mostly Spanish or Portuguese), bourgeois and influenced by liberalism and in some cases with military training in the mother country.
In 1809 the first declarations of independence from Spanish rule occurred in the Viceroyalty of Peru. The first two were in the Alto Perú, present-day Bolivia, at Charcas (present day Sucre, May 25), and La Paz (July 16); and the third in present-day Ecuador at Quito (August 10). In 1810 Mexico declared independence, with the Mexican War of Independence following for over a decade. In 1821 Treaty of Córdoba established Mexican independence from Spain and concluded the War. The Plan of Iguala was part of the peace treaty to establish a constitutional foundation for an independent Mexico.
These began a movement for colonial independence that spread to Spain's other colonies in the Americas. The ideas from the French and the American Revolution influenced the efforts. All of the colonies, except Cuba and Puerto Rico, attained independence by the 1820s. The British Empire offered support, wanting to end the Spanish monopoly on trade with its colonies in the Americas.
In 1898, the United States achieved victory in the Spanish–American War with Spain, ending the Spanish colonial era. Spanish possession and rule of its remaining colonies in the Americas ended in that year with its sovereignty transferred to the United States. The United States took occupation of Cuba, the Philippines, and Puerto Rico. Puerto Rico continues to be a possession of the United States, now officially continues as a self-governing unincorporated territory.
In popular culture
In the twentieth century, there have been a number of films depicting the life of Christopher Columbus. One in 1949 stars Frederic March as Columbus. With the 1992 commemoration (and critique) of Columbus, more cinematic and television depictions of the era appeared, including a TV miniseries with Gabriel Byrne as Columbus. Christopher Columbus: The Discovery (1992) has Georges Corroface as Columbus with Marlon Brando as Tomás de Torquemada and Tom Selleck as King Ferdinand and Rachel Ward as Queen Isabela. 1492: The Conquest of Paradise stars Gérard Depardieu as Columbus and Sigorney Weaver as Queen Isabel. A 2010 film, Even the Rain starring Gael García Bernal, is set in modern Cochabamba, Bolivia during the Cochabamba Water War, following a film crew shooting a controversial life of Columbus. A 1995 Bolivian-made film is in some ways similar to Even the Rain is To Hear the Birds Singing, with a modern film crew going to an indigenous settlement to shot a film about the Spanish conquest and end up replicating aspects of the conquest.
For the conquest of Mexico, a 2019 an eight-episode Mexican TV miniseries Hernán depicts the conquest of Mexico. Other notable historical figures in the production are Malinche, Cortés cultural translator, and other conquerors Pedro de Alvarado, Cristóbal de Olid, Bernal Díaz del Castillo. Showing the indigenous sides are Xicotencatl, a leader of the Spaniards' Tlaxcalan allies, and Aztec emperors Moctezuma II and Cuitlahuac. The story of Doña Marina, also known as Malinche, was the subject of a Mexican TV miniseries in 2018. A major production in Mexico was the 1998 film, The Other Conquest, which focuses on a Nahua in the post-conquest era and the evangelization of central Mexico.
The epic journey of Álvar Núñez Cabeza de Vaca has been portrayed in a 1991 feature-length Mexican film, Cabeza de Vaca. The similarly epic and dark journey of Lope de Aguirre was made into a film by Werner Herzog, Aguirre, the Wrath of God (1972), starring Klaus Kinsky.
The Mission was a 1996 film idealizing a Jesuit mission to the Guaraní in the territory disputed between Spain and Portugal. The film starred Robert De Niro, Jeremy Irons, and Liam Neeson and It won an Academy Award.
The life of seventeenth-century Mexican nun, Sor Juana Inés de la Cruz, renowned in her lifetime, has been portrayed in a 1990 Argentine film, I, the Worst of All and in a TV miniseries Juana Inés. Seventeenth-century Mexican trickster, Martín Garatuza was the subject of a late nineteenth-century novel by Mexican politician and writer, Vicente Riva Palacio. In the twentieth century, Garatuza's life was the subject of a 1935 film and a 1986 telenovela, Martín Garatuza.
For the independence era, the 2016 Bolivian-made film made about Mestiza independence leader Juana Azurduy de Padilla is part of the recent recognition of her role in the independence of Argentina and Bolivia.
Dominions
North America, Central America
Viceroyalty of New Spain (1535–1821)
Las Californias
Nuevo Reino de León
Territorio de Nutka
Nuevo Santander
Nueva Vizcaya
Santa Fe de Nuevo México
Nueva Extremadura
Nueva Galicia
Captaincy General of Guatemala
La Luisiana (until 1801).
Spanish Florida (until 1819).
Captaincy General of Cuba (until 1898)
Captaincy General of Puerto Rico (until 1898)
Santo Domingo (last Spanish rule 1861–1865)
Captaincy General of the Philippines (administered by New Spain from 1565 to 1821, then after Mexican independence transferred to and directly administered by Madrid until 1898)
South America
Viceroyalty of Perú (1542–1824)
Captaincy General of Chile (1541–1818)
Viceroyalty of New Granada (1717–1819)
Captaincy General of Venezuela
Viceroyalty of the Río de la Plata (1776–1814)
See also
Atlantic World
Cartography of Latin America
Castas
Spanish Empire
Spanish American Enlightenment
Black legend (Spain)
Hapsburg Spain
List of largest empires
Population history of indigenous peoples of the Americas
Valladolid debate
Viceroyalty of New Spain
Viceroyalty of Peru
Notes
References
Further reading
Altman, Ida and David Wheat, eds. The Spanish Caribbean and the Atlantic World in the Long Sixteenth Century. Lincoln: University of Nebraska Press 2019.
Brading, D. A., The First America: the Spanish Monarchy, Creole Patriots, and the Liberal State, 1492–1867 (Cambridge: Cambridge University Press, 1993).
Burkholder, Mark A. and Lyman L. Johnson. Colonial Latin America, 10th ed. Oxford University Press 2018.
Chipman, Donald E. and Joseph, Harriett Denise. Spanish Texas, 1519–1821. (Austin: University of Texas Press, 1992)
Clark, Larry R. Imperial Spain’s Failure to Colonize Southeast North America: 1513 - 1587 (TimeSpan Press 2017) updated edition to Spanish Attempts to Colonize Southeast North America (McFarland Publishing, 2010)
Elliott, J. H. Empires of the Atlantic World: Britain and Spain in America, 1492–1830 (New Haven: Yale University Press, 2007)
Gibson, Carrie. Empire's Crossroads: A History of the Caribbean from Columbus to the Present Day (New York: Grove Press, 2015)
Gibson, Carrie. El Norte: The Epic and Forgotten Story of Hispanic North America (New York: Atlantic Monthly Press, 2019)
Gibson, Charles. Spain in America. New York: Harper and Row 1966.
Goodwin, Robert. América: The Epic Story of Spanish North America, 1493-1898 (London: Bloomsbury Publishing, 2019)
Hanke, Lewis. The Spanish Struggle for Justice in the Conquest of America (Boston: Little, Brown, and Co., 1965).
Haring, Clarence H. The Spanish Empire in America (London: Oxford University Press, 1947)
Kamen, Henry. Empire: How Spain Became a World Power, 1492–1763 (HarperCollins, 2004)
Lockhart, James and Stuart B. Schwartz. Early Latin America: A History of Colonial Spanish America and Brazil. New York: Cambridge University Press 1983.
Merriman, Roger Bigelow. The Rise of the Spanish Empire in the Old World and in the New (4 Vol. London: Macmillan, 1918) online free
Portuondo, María M. Secret Science: Spanish Cosmography and the New World (Chicago: Chicago UP, 2009).
Restall, Matthew and Fernández-Armesto, Felipe. The Conquistadors: A Very Short Introduction (2012) excerpt and text search
Restall, Matthew and Kris Lane. Latin America in Colonial Times. New York: Cambridge University Press 2011.
Thomas, Hugh. Rivers of Gold: the rise of the Spanish Empire, from Columbus to Magellan (2005)
Weber, David J. The Spanish Frontier in North America (Yale University Press, 1992)
Historiography
Cañeque, Alejandro "The Political and Institutional History of Colonial Spanish America" History Compass (April 2013) 114 pp 280–291,
Herzog, Tamar (2018). "Indigenous Reducciones and Spanish Resettlement: Placing Colonial and European History in Dialogue". Ler Historia (72): 9-30. doi:10.4000/lerhistoria.3146. ISSN 0870-6182.
Weber, David J. "John Francis Bannon and the Historiography of the Spanish Borderlands: Retrospect and Prospect." Journal of the Southwest (1987): 331–363. See John Francis Bannon
Weber, David J. “The Spanish Borderlands, Historiography Redux.” The History Teacher, vol. 39, no. 1, 2005, pp. 43–56. JSTOR, online.
External links
Spanish Exploration and Conquest of North America
Spain in America (Edward Gaylord Bourne, 1904) 'Spain in America'
The Spanish Borderlands (Herbert E. Bolton, 1921) 'The Spanish Borderlands'
Indigenous Puerto Rico DNA evidence upsets established history
“The Political Force of Images,” Vistas: Visual Culture in Spanish America, 1520–1820.
Spanish exploration in the Age of Discovery
16th century in North America
16th century in Central America
16th century in South America
16th century in the Spanish Empire
History of indigenous peoples of the Americas
History of the Colony of Santo Domingo
Former empires
Americas
History of the Americas | false | [
"National Colonization can refer to:\n\nColonization Societies to repatriate slaves, including National Colonization Society of America\nA plan implemented by Australia's National Colonization Society; see History of South Australia\n The General Colonization Law, part of the 1824 Constitution of Mexico for claiming land in Mexican Texas for Mexico\n\nSee also\nColonization",
"American settlers is a broad-concept term which may refer to:\n\n Settlement of the Americas, which began when Paleolithic hunter-gatherers entered North America via the Beringia land bridge from Siberia\n European colonization of the Americas, which began in 1492, when a Spanish expedition headed by the explorer Christopher Columbus sailed west and landed in what came to be known to Europeans as the \"New World\"\n Colonial history of the United States, European colonization of America from the start of colonization in the early 16th century\n Manifest destiny, the westward movement of settlers across North America\nLater migrations of specific groups to the United States:\n History of Chinese Americans includes three major waves of Chinese immigration to the United States with the first beginning in the 19th century\n Cuban immigration to the United States\n Emigration from Mexico, primarily to the United States\n Central American migrant caravans, composed of people who fled gang violence, poverty, and political repression with the goal of settling in the United States\n\nSee also\n History of immigration to the United States\n American diaspora, Americans who relocate, temporarily or permanently, to foreign countries\n\n \nAmerican pioneers\nColonization history of the United States\nEuropean colonization of the Americas\nPeopling of the Americas"
]
|
[
"Spanish colonization of the Americas",
"Mexico",
"When did the colonization of Mexico begin?",
"The Spanish conquest of Mexico is generally understood to be the Spanish conquest of the Aztec Empire (1519-21) which was the base for later conquests of other regions."
]
| C_481aa00f10ba4a8c8e8950d309ce24a0_1 | What happened during this period? | 2 | What happened during 1519-21? | Spanish colonization of the Americas | The Spanish conquest of Mexico is generally understood to be the Spanish conquest of the Aztec Empire (1519-21) which was the base for later conquests of other regions. Later conquests were protracted campaigns with less spectacular results than the conquest of the Aztecs. The Spanish conquest of Yucatan, the Spanish conquest of Guatemala, the war of Mexico's west, and the Chichimeca War in northern Mexico expanded Spanish control over territory and indigenous populations. But not until the Spanish conquest of Peru was the conquest of the Aztecs matched in scope by the victory over the Inca empire in 1532. The Spanish conquest of the Aztec empire was led by Hernan Cortes. The victory over the Aztecs was relatively quick, from 1519 to 1521, and aided by his Tlaxcala and other allies from indigenous city-states or altepetl. These polities allied against the Aztec empire, to which they paid tribute following conquest or threat of conquest, leaving the city-states' political hierarchy and social structure in place. The Spanish conquest of Yucatan was a much longer campaign, from 1551 to 1697, against the Maya peoples in the Yucatan Peninsula of present-day Mexico and northern Central America. Hernan Cortes' landing ashore at present day Veracruz and founding the Spanish city there on April 22, 1519 marked the beginning of 300 years of Spanish hegemony over the region. The assertion of royal control over the Kingdom of New Spain and the initial Spanish conquerors took over a decade, with importance of the region meriting the creation of the Viceroyalty of New Spain. Established by Charles V in 1535, the first viceroy was Don Antonio de Mendoza. Spain colonized and exerted control of Alta California through the Spanish missions in California until the Mexican secularization act of 1833. CANNOTANSWER | Later conquests were protracted campaigns with less spectacular results than the conquest of the Aztecs. | The Spanish colonization of the Americas began under the Crown of Castile and was spearheaded by the Spanish conquistadors. The Americas were invaded and incorporated into the Spanish Empire, with the exception of Brazil, British America, and some small regions of South America and the Caribbean. The crown created civil and religious structures to administer the vast territory. The main motivations for colonial expansion were profit through resource extraction and the spread of Catholicism through indigenous conversions.
Beginning with the 1492 arrival of Christopher Columbus in the Caribbean and gaining control over more territory for over three centuries, the Spanish Empire would expand across the Caribbean Islands, half of South America, most of Central America and much of North America. It is estimated that during the colonial period (1492–1832), a total of 1.86 million Spaniards settled in the Americas, and a further 3.5 million immigrated during the post-colonial era (1850–1950); the estimate is 250,000 in the 16th century and most during the 18th century, as immigration was encouraged by the new Bourbon dynasty.
By contrast, the indigenous population plummeted by an estimated 80% in the first century and a half following Columbus's voyages, primarily through the spread of disease, forced labor and slavery for resource extraction, and missionization. This has been argued to be the first large-scale act of genocide in the modern era.
In the early 19th century, the Spanish American wars of independence resulted in the secession and subsequent division of most Spanish territories in the Americas, except for Cuba and Puerto Rico, which were lost to the United States in 1898, following the Spanish–American War. The loss of these territories ended Spanish rule in the Americas.
Imperial expansion
The expansion of Spain’s territory took place under the Catholic Monarchs Isabella of Castile, Queen of Castile and her husband King Ferdinand, King of Aragon, whose marriage marked the beginning of Spanish power beyond the Iberian peninsula. They pursued a policy of joint rule of their kingdoms and created the initial stage of a single Spanish monarchy, completed under the eighteenth-century Bourbon monarchs. The first expansion of territory was the conquest of the Muslim Emirate of Granada on January 1, 1492, the culmination of the Christian Reconquest of the Iberian peninsula, held by the Muslims since 711. On March 31, 1492, the Catholic Monarch ordered the expulsion of the Jews in Spain who refused to convert to Christianity. On October 12, 1492, Genoese mariner Christopher Columbus made landfall in the Western Hemisphere.
Even though Castile and Aragon were ruled jointly by their respective monarchs, they remained separate kingdoms so that when the Catholic Monarchs gave official approval for the plans for Columbus’s voyage to reach "the Indies" by sailing West, the funding came from the queen of Castile. The profits from Spanish expedition flowed to Castile. The Kingdom of Portugal authorized a series of voyages down the coast of Africa and when they rounded the southern tip, were able to sail to India and further east. Spain sought similar wealth, and authorized Columbus’s voyage sailing west. Once the Spanish settlement in the Caribbean occurred, Spain and Portugal formalized a division of the world between them in the 1494 Treaty of Tordesillas. The deeply pious Isabella saw the expansion of Spain's sovereignty inextricably paired with the evangelization of non-Christian peoples, the so-called “spiritual conquest” with the military conquest. Pope Alexander VI in a 4 May 1493 papal decree, Inter caetera, divided rights to lands in the Western Hemisphere between Spain and Portugal on the proviso that they spread Christianity. These formal arrangements between Spain and Portugal and the pope were ignored by other European powers.
General principles of expansion
The Spanish expansion has sometimes been succinctly summed up as "gold, glory, God." The search for material wealth, the enhancement of the conquerors' and the crown's position, and the expansion of Christianity. In the extension of Spanish sovereignty to its overseas territories, authority for expeditions (entradas) of discovery, conquest, and settlement resided in the monarchy. Expeditions required authorization by the crown, which laid out the terms of such expedition. Virtually all expeditions after the Columbus voyages, which were funded by the crown of Castile, were done at the expense of the leader of the expedition and its participants. Although often the participants, conquistadors, are now termed “soldiers”, they were not paid soldiers in ranks of an army, but rather soldiers of fortune, who joined an expedition with the expectation of profiting from it. The leader of an expedition, the adelantado was a senior with material wealth and standing who could persuade the crown to issue him a license for an expedition. He also had to attract participants to the expedition who staked their own lives and meager fortunes on the expectation of the expedition’s success. The leader of the expedition pledged the larger share of capital to the enterprise, which in many ways functioned as a commercial firm. Upon the success of the expedition, the spoils of war were divvied up in proportion to the amount a participant initially staked, with the leader receiving the largest share. Participants supplied their own armor and weapons, and those who had a horse received two shares, one for himself, the second recognizing the value of the horse as a machine of war. For the conquest era, two names of Spaniards are generally known because they led the conquests of high indigenous civilizations, Hernán Cortés, leader of the expedition that conquered the Aztecs of Central Mexico, and Francisco Pizarro, leader of the conquest of the Inca in Peru.
Caribbean islands and the Spanish Main
Until his dying day, Columbus was convinced that he had reached Asia, the Indies. From that misperception the Spanish called the indigenous peoples of the Americas, "Indians" (indios), lumping a multiplicity of civilizations, groups, and individuals into a single category. The Spanish royal government called its overseas possessions "The Indies" until its empire dissolved in the nineteenth century. Patterns set in this early period of exploration and colonization were to endure as Spain expanded further, even as the region became less important in the overseas empire after the conquests of Mexico and Peru.
In the Caribbean, there was no large-scale Spanish conquest of indigenous peoples, but there was indigenous resistance. Columbus made four voyages to the West Indies as the monarchs granted Columbus vast powers of governance over this unknown part of the world. The crown of Castile financed more of his trans-Atlantic journeys, a pattern they would not repeat elsewhere. Effective Spanish settlement began in 1493, when Columbus brought livestock, seeds, agricultural equipment. The first settlement of La Navidad, a crude fort built on his first voyage in 1492, had been abandoned by the time he returned in 1493. He then founded the settlement of La Isabela on the island they named Hispaniola (now divided into Haiti and the Dominican Republic).
Spanish explorations of other islands in the Caribbean and what turned out to be the mainland of South and Central America occupied them for over two decades. Columbus had promised that the region he now controlled held a huge treasure in the form of gold and spices. Spanish settlers found relatively dense populations of indigenous peoples, who were agriculturalists living in villages ruled by leaders not part of a larger integrated political system. For the Spanish, these populations were there for their exploitation, to supply their own settlements with foodstuffs, but more importantly for the Spanish, to extract mineral wealth or produce another valuable commodity for Spanish enrichment. The labor of dense populations of Tainos were allocated to Spanish settlers in an institution known as the encomienda, where particular indigenous settlements were awarded to individual Spaniards. There was surface gold found in early islands, and holders of encomiendas put the indigenous to work panning for it. For all practical purposes, this was slavery. Queen Isabel put an end to formal slavery, declaring the indigenous to be vassals of the crown, but Spaniards' exploitation continued. The Taino population on Hispaniola went from hundreds of thousands or millions –- the estimates by scholars vary widely—but in the mid-1490s, they were practically wiped out. Disease and overwork, disruption of family life and the agricultural cycle (which caused severe food shortages to Spaniards dependent on them) rapidly decimated the indigenous population. From the Spanish viewpoint, their source of labor and viability of their own settlements was at risk. After the collapse of the Taino population of Hispaniola, Spaniards took to slave raiding and settlement on nearby islands, including Cuba, Puerto Rico, and Jamaica, replicating the demographic catastrophe there as well.
Dominican friar Antonio de Montesinos denounced Spanish cruelty and abuse in a sermon in 1511, which comes down to us in the writings of Dominican friar Bartolomé de las Casas. In 1542 Las Casas wrote a damning account of this genocide, A Short Account of the Destruction of the Indies. It was translated quickly to English and became the basis for the anti-Spanish writings, collectively known as the Black Legend.
The first mainland explorations by Spaniards were followed by a phase of inland expeditions and conquest. In 1500 the city of Nueva Cádiz was founded on the island of Cubagua, Venezuela, followed by the founding of Santa Cruz by Alonso de Ojeda in present-day Guajira peninsula. Cumaná in Venezuela was the first permanent settlement founded by Europeans in the mainland Americas, in 1501 by Franciscan friars, but due to successful attacks by the indigenous people, it had to be refounded several times, until Diego Hernández de Serpa's foundation in 1569. The Spanish founded San Sebastián de Uraba in 1509 but abandoned it within the year. There is indirect evidence that the first permanent Spanish mainland settlement established in the Americas was Santa María la Antigua del Darién.
Spaniards spent over 25 years in the Caribbean where their initial high hopes of dazzling wealth gave way to continuing exploitation of disappearing indigenous populations, exhaustion of local gold mines, initiation of cane sugar cultivation as an export product, and importation of African slaves as a labor force. Spaniards continued to expand their presence in the circum-Caribbean region with expeditions. One was by Francisco Hernández de Córdoba in 1517, another by Juan de Grijalva in 1518, which brought promising news of possibilities there. Even by the mid-1510s, the western Caribbean was largely unexplored by Spaniards. A well-connected settler in Cuba, Hernán Cortés received authorization in 1519 by the governor of Cuba to form an expedition of exploration-only to this far western region. That expedition was to make world history.
Mexico
It wasn’t until Spanish expansion into modern-day Mexico that Spanish explorers were able to find wealth on the scale that they had been hoping for. Unlike Spanish expansion in the Caribbean, which involved limited armed combat and sometimes the participation of indigenous allies, the conquest of central Mexico was protracted and necessitated indigenous allies who chose to participate for their own purposes. The conquest of the Aztec empire involved the combined effort of armies from many indigenous allies, spearheaded by a small Spanish force of conquistadors. The Aztec empire was a fragile confederation of city-states. Spaniards persuaded the leaders of subordinate city-states and one city-state never conquered by the Aztecs, Tlaxcala, to join them in huge numbers, with thousands, perhaps tens of thousands of indigenous warriors. The conquest of central Mexico is one of the best-documented events in world history, with accounts by the expedition leader Hernán Cortés, many other Spanish conquistadors, including Bernal Díaz del Castillo, indigenous allies from the city-states altepetl of Tlaxcala, Texcoco, and Huexotzinco, but also importantly, the defeated of Tenochtitlan, the Aztec capital. What can be called the visions of the vanquished, indigenous accounts written in the sixteenth century, are a rare case of history being written by those other than the victors.
The capture of the Aztec emperor Moctezuma II by Cortés was not a brilliant stroke of innovation, but came from the playbook that the Spanish developed during their period in the Caribbean. The composition of the expedition was the standard pattern, with a senior leader, and participating men investing in the enterprise with the full expectation of rewards if they did not lose their lives. Cortés’s seeking indigenous allies was a typical tactic of warfare: divide and conquer. But the indigenous allies had much to gain by throwing off Aztec rule. For the Spaniards’ Tlaxcalan allies, their crucial support gained them enduring political legacy into the modern era, the Mexican state of Tlaxcala.
The conquest of central Mexico sparked further Spanish conquests, following the pattern of conquered and consolidated regions being the launching point for further expeditions. These were often led by secondary leaders, such as Pedro de Alvarado. Later conquests in Mexico were protracted campaigns with less spectacular results than the conquest of the Aztecs. The Spanish conquest of Yucatán, the Spanish conquest of Guatemala, the conquest of the Tarascans/Purépecha of Michoacan, the war of Mexico's west, and the Chichimeca War in northern Mexico expanded Spanish control over territory and indigenous populations. But not until the Spanish conquest of Peru was the conquest of the Aztecs matched in scope by the victory over the Inca empire in 1532.
Peru
In 1532 at the Battle of Cajamarca a group of Spaniards under Francisco Pizarro and their indigenous Andean Indian auxiliaries native allies ambushed and captured the Emperor Atahualpa of the Inca Empire. It was the first step in a long campaign that took decades of fighting to subdue the mightiest empire in the Americas. In the following years, Spain extended its rule over the Empire of the Inca civilization.
The Spanish took advantage of a recent civil war between the factions of the two brothers Emperor Atahualpa and Huáscar, and the enmity of indigenous nations the Incas had subjugated, such as the Huancas, Chachapoyas, and Cañaris. In the following years the conquistadors and indigenous allies extended control over Greater Andes Region. The Viceroyalty of Perú was established in 1542. The last Inca stronghold was conquered by the Spanish in 1572.
Peru was the last territory in the continent under Spanish rule, which ended on 9 December 1824 at the Battle of Ayacucho (Spanish rule continued until 1898 in Cuba and Puerto Rico).
Chile
Chile was explored by Spaniards based in Peru, where Spaniards found the fertile soil and mild climate attractive. The Mapuche people of Chile, whom the Spaniards called Araucanians, resisted fiercely. The Spanish did establish the settlement of Chile in 1541, founded by Pedro de Valdivia.
Southward colonization by the Spanish in Chile halted after the conquest of Chiloé Archipelago in 1567. This is thought to have been the result of an increasingly harsh climate to the south, and the lack of a populous and sedentary indigenous population to settle among for the Spanish in the fjords and channels of Patagonia. South of the Bío-Bío River the Mapuche successfully reversed colonization with the Destruction of the Seven Cities in 1599–1604. This Mapuche victory laid the foundation for the establishment of a Spanish-Mapuche frontier called La Frontera. Within this frontier the city of Concepción assumed the role of "military capital" of Spanish-ruled Chile. With a hostile indigenous population, no obvious mineral or other exploitable resources, and little strategic value, Chile was a fringe area of colonial Spanish America, hemmed in geographically by the Andes to the east, Pacific Ocean to the west, and indigenous to the south.
New Granada
Between 1537 and 1543, six Spanish expeditions entered highland Colombia, conquered the Muisca Confederation, and set up the New Kingdom of Granada (). Gonzalo Jiménez de Quesada was the leading conquistador with his brother Hernán second in command. It was governed by the president of the Audiencia of Bogotá, and comprised an area corresponding mainly to modern-day Colombia and parts of Venezuela. The conquistadors originally organized it as a captaincy general within the Viceroyalty of Peru. The crown established the audiencia in 1549. Ultimately, the kingdom became part of the Viceroyalty of New Granada first in 1717 and permanently in 1739. After several attempts to set up independent states in the 1810s, the kingdom and the viceroyalty ceased to exist altogether in 1819 with the establishment of Gran Colombia.
Venezuela
Venezuela was first visited by Europeans during the 1490s, when Columbus was in control of the region, and the region as a source for indigenous slaves for Spaniards in Cuba and Hispaniola, since the Spanish destruction of the local indigenous population. There were few permanent settlements, but Spaniards settled the coastal islands of Cubagua and Margarita to exploit the pearl beds. Western Venezuela’s history took an atypical direction in 1528, when Spain’s first Hapsburg monarch, Charles I granted rights to colonize to the German banking family of the Welsers. Charles sought to be elected Holy Roman Emperor and was willing to pay whatever it took to achieve that. He became deeply indebted to the German Welser and Fugger banking families. To satisfy his debts to the Welsers, he granted them the right to colonize and exploit western Venezuela, with the proviso that they found two towns with 300 settlers each and construct fortifications. They established the colony of Klein-Venedig in 1528. They founded the towns of Coro and Maracaibo. They were aggressive in making their investment pay, alienating the indigenous populations and Spaniards alike. Charles revoked the grant in 1545, ending the episode of German colonization.
Río de la Plata and Paraguay
Argentina was not conquered or later exploited in the grand fashion of central Mexico or Peru, since the indigenous population was sparse and there were no precious metals or other valuable resources. Although today Buenos Aires at the mouth of Río de la Plata is a major metropolis, it held no interest for Spaniards and the 1535-36 settlement failed and was abandoned by 1541. Pedro de Mendoza and Domingo Martínez de Irala, who led the original expedition, went inland and founded Asunción, Paraguay, which became the Spaniards' base. A second (and permanent) settlement was established in 1580 by Juan de Garay, who arrived by sailing down the Paraná River from Asunción, now the capital of Paraguay. Exploration from Peru resulted in the foundation of Tucumán in what is now northwest Argentina.
End of era of exploration
The spectacular conquests of central Mexico (1519–21) and Peru (1532) sparked Spaniards' hopes of finding yet another high civilization. Expeditions continued into the 1540s and regional capitals founded by the 1550s. Among the most notable expeditions are Hernando de Soto into southeast North America, leaving from Cuba (1539–42); Francisco Vázquez de Coronado to northern Mexico (1540–42), and Gonzalo Pizarro to Amazonia, leaving from Quito, Ecuador (1541–42). In 1561, Pedro de Ursúa led an expedition of some 370 Spanish (including women and children) into Amazonia to search for El Dorado. Far more famous now is Lope de Aguirre, who led a mutiny against Ursúa, who was murdered. Aguirre subsequently wrote a letter to Philip II bitterly complaining about the treatment of conquerors like himself in the wake of the assertion of crown control over Peru. An earlier expedition that left in 1527 was led by Pánfilo Naváez, who was killed early on. Survivors continued to travel among indigenous groups in the North American south and southwest until 1536. Álvar Núñez Cabeza de Vaca was one of four survivors of that expedition, writing an account of it. The crown later sent him to Asunción, Paraguay to be adelantado there. Expeditions continued to explore territories in hopes of finding another Aztec or Inca empire, with no further success. Francisco de Ibarra led an expedition from Zacatecas in northern New Spain, and founded Durango. Juan de Oñate, is sometimes referred to as "the Last Conquistador", expanded Spanish sovereignty over what is now New Mexico. Like previous conquistadors, Oñate engaged in widespread abuses of the Indian population. Shortly after founding Santa Fe, Oñate was recalled to Mexico City by the Spanish authorities. He was subsequently tried and convicted of cruelty to both natives and colonists and banished from New Mexico for life.
Factors affecting Spanish settlement
Two major factors affected the density of Spanish settlement in the long term. One was the presence or absence of dense, hierarchically organized indigenous populations that could be made to work. The other was the presence or absence of an exploitable resource for the enrichment of settlers. Best was gold, but silver was found in abundance.
The two main areas of Spanish settlement after 1550 were Mexico and Peru, the sites of the Aztec and Inca indigenous civilizations. Equally important, rich deposits of the valuable metal silver. Spanish settlement in Mexico “largely replicated the organization of the area in preconquest times” while in Peru, the center of the Incas was too far south, too remote, and at too high an altitude for the Spanish capital. The capital Lima was built near the Pacific coast. The capitals of Mexico and Peru, Mexico City and Lima came to have large concentrations of Spanish settlers and became the hubs of royal and ecclesiastical administration, large commercial enterprises and skilled artisans, and centers of culture. Although Spaniards had hoped to find vast quantities of gold, the discovery of large quantities of silver became the motor of the Spanish colonial economy, a major source of income for the Spanish crown, and transformed the international economy. Mining regions in both Mexico were remote, outside the zone of indigenous settlement in central and southern Mexico Mesoamerica, but mines in Zacatecas (founded 1548) and Guanajuato (founded 1548) were key hubs in the colonial economy. In Peru, silver was found in a single silver mountain, the Cerro Rico de Potosí, still producing silver in the 21st century. Potosí (founded 1545) was in the zone of dense indigenous settlement, so that labor could be mobilized on traditional patterns to extract the ore. An important element for productive mining was mercury for processing high-grade ore. Peru had a source in Huancavelica (founded 1572), while Mexico had to rely on mercury imported from Spain.
Establishment of early settlements
The Spanish founded towns in the Caribbean, on Hispaniola and Cuba, on a pattern that became spatially similar throughout Spanish America. A central plaza had the most important buildings on the four sides, especially buildings for royal officials and the main church. A checkerboard pattern radiated outward. Residences of the officials and elites were closest to the main square. Once on the mainland, where there were dense indigenous populations in urban settlements, the Spanish could build a Spanish settlement on the same site, dating its foundation to when that occurred. Often they erected a church on the site of an indigenous temple. They replicated the existing indigenous network of settlements, but added a port city. The Spanish network needed a port city so that inland settlements could be connected by sea to Spain. In Mexico, the Hernán Cortés and the men of his expedition founded of the port town of Veracruz in 1519 and constituted themselves as the town councilors, as a means to throw off the authority of the governor of Cuba, who did not authorize an expedition of conquest. start of the conquest of central Mexico; once the Aztec empire was toppled, they founded Mexico City on the ruins of the Aztec capital. Their central official and ceremonial area was built on top of Aztec palaces and temples. In Peru, Spaniards founded the city of Lima as their capital and its nearby port of Callao, rather than the high-altitude site of Cuzco, the center of Inca rule. Spaniards established a network of settlements in areas they conquered and controlled. Important ones include Santiago de Guatemala (1524); Puebla (1531); Querétaro (ca. 1531); Guadalajara (1531–42); Valladolid (now Morelia), (1529–41); Antequera (now Oaxaca(1525–29); Campeche (1541); and Mérida. In southern Central and South America, settlements were founded in Panama (1519); León, Nicaragua (1524); Cartagena (1532); Piura (1532); Quito (1534); Trujillo (1535); Cali (1537) Bogotá (1538); Quito (1534); Cuzco 1534); Lima (1535); Tunja, (1539); Huamanga 1539; Arequipa (1540); Santiago de Chile (1544) and Concepción, Chile (1550). Settled from the south were Buenos Aires (1536, 1580); Asunción (1537); Potosí (1545); La Paz, Bolivia (1548); and Tucumán (1553).
Ecological conquests
The Columbian Exchange was as significant as the clash of civilizations. Arguably the most significant introduction was diseases brought to the Americas, which devastated indigenous populations in a series of epidemics. The loss of indigenous population had a direct impact on Spaniards as well, since increasingly they saw those populations as a source of their own wealth, disappearing before their eyes.
In the first settlements in the Caribbean, the Spaniards deliberately brought animals and plants that transformed the ecological landscape. Pigs, cattle, sheep, goats, and chickens allowed Spaniards to eat a diet with which they were familiar. But the importation of horses transformed warfare for both the Spaniards and the indigenous. Where the Spaniards had exclusive access to horses in warfare, they had an advantage over indigenous warriors on foot. They were initially a scarce commodity, but horse breeding became an active industry. Horses that escaped Spanish control were captured by indigenous; many indigenous also raided for horses. Mounted indigenous warriors were significant foes for Spaniards. The Chichimeca in northern Mexico, the Comanche in the northern Great Plains and the Mapuche in southern Chile and the pampas of Argentina resisted Spanish conquest. For Spaniards, the fierce Chichimecas barred them for exploiting mining resources in northern Mexico. Spaniards waged a fifty-year war (ca. 1550-1600) to subdue them, but peace was only achieved by Spaniards’ making significant donations of food and other commodities the Chichimeca demanded. "Peace by purchase" ended the conflict. In southern Chile and the pampas, the Araucanians (Mapuche) prevented further Spanish expansion. The image of mounted Araucanians capturing and carrying off white women was the embodiment of Spanish ideas of civilization and barbarism.
Cattle multiplied quickly in areas where little else could turn a profit for Spaniards, including northern Mexico and the Argentine pampas. The introduction of sheep production was an ecological disaster in places where they were raised in great numbers, since they ate vegetation to the ground, preventing the regeneration of plants.
The Spanish brought new crops for cultivation. They preferred wheat cultivation to indigenous sources of carbohydrates: casava, maize (corn), and potatoes, initially importing seeds from Europe and planting in areas where plow agriculture could be utilized, such as the Mexican Bajío. They also imported cane sugar, which was a high-value crop in early Spanish America. Spaniards also imported citrus trees, establishing orchards of oranges, lemons, and limes, and grapefruit. Other imports were figs, apricots, cherries, pears, and peaches among others. The exchange did not go one way. Important indigenous crops that transformed Europe were the potato and maize, which produced abundant crops that led to the expansion of populations in Europe. Chocolate (Nahuatl: chocolate) and vanilla were cultivated in Mexico and exported to Europe. Among the foodstuffs that became staples in European cuisine and could be grown there were tomatoes, squashes, bell peppers, and to a lesser extent in Europe chili peppers; also nuts of various kinds: Walnuts, cashews, pecans, and peanuts.
Civil governance
The empire in the Indies was a newly established dependency of the kingdom of Castile alone, so crown power was not impeded by any existing cortes (i.e. parliament), administrative or ecclesiastical institution, or seigneurial group. The crown sought to establish and maintain control over its overseas possessions through a complex, hierarchical bureaucracy, which in many ways was decentralized. The crown asserted is authority and sovereignty of the territory and vassals it claimed, collected taxes, maintained public order, meted out justice, and established policies for governance of large indigenous populations. Many institutions established in Castile found expression in The Indies from the early colonial period. Spanish universities expanded to train lawyer-bureaucrats (letrados) for administrative positions in Spain and its overseas empire.
The end of the Habsburg dynasty in 1700 saw major administrative reforms in the eighteenth century under the Bourbon monarchy, starting with the first Spanish Bourbon monarch, Philip V (r. 1700-1746) and reaching its apogee under Charles III (r. 1759-1788). The reorganization of administration has been called "a revolution in government." Reforms sought to centralize government control through reorganization of administration, reinvigorate the economies of Spain and the Spanish empire through changes in mercantile and fiscal policies, defend Spanish colonies and territorial claims through the establishment of a standing military, undermine the power of the Catholic church, and rein in the power of the American-born elites.
Early institutions of governance
The crown relied on ecclesiastics as important councilors and royal officials in the governance of their overseas territories. Archbishop Juan Rodríguez de Fonseca, Isabella's confessor, was tasked with reining in Columbus's independence. He strongly influenced the formulation of colonial policy under the Catholic Monarchs, and was instrumental in establishing the Casa de Contratación (House of Trade) (1503), which enabled crown control over trade and immigration. Ovando fitted out Magellan's voyage of circumnavigation, and became the first President of the Council of the Indies in 1524. Ecclesiastics also functioned as administrators overseas in the early Caribbean period, particularly Frey Nicolás de Ovando, who was sent to investigate the administration of Francisco de Bobadilla, the governor appointed to succeed Christopher Columbus. Later ecclesiastics served as interim viceroys, general inspectors (visitadores), and other high posts.
House of Trade
The crown established control over trade and emigration to the Indies with the 1503 establishment the Casa de Contratación (House of Trade) in Seville. Ships and cargoes were registered, and emigrants vetted to prevent migration of anyone not of old Christian heritage, (i.e., with no Jewish or Muslim ancestry), and facilitated the migration of families and women. In addition, the Casa de Contratación took charge of the fiscal organization, and of the organization and judicial control of the trade with the Indies.
Assertion of royal control in the early Caribbean
The politics of asserting royal authority to oppose Columbus resulted in the suppression of his privileges and the creation of territorial governance under royal authority. These governorates, also called as provinces, were the basic of the territorial government of the Indies, and arose as the territories were conquered and colonized. To carry out the expedition (entrada), which entailed exploration, conquest, and initial settlement of the territory, the king, as sovereign, and the appointed leader of an expedition (adelantado) agreed to an itemized contract (capitulación), with the specifics of the conditions of the expedition in a particular territory. The individual leaders of expeditions assumed the expenses of the venture and in return received as reward the grant from the government of the conquered territories; and in addition, they received instructions about treating the indigenous peoples.
After the end of the period of conquests, it was necessary to manage extensive and different territories with a strong bureaucracy. In the face of the impossibility of the Castilian institutions to take care of the New World affairs, other new institutions were created.
As the basic political entity it was the governorate, or province. The governors exercised judicial ordinary functions of first instance, and prerogatives of government legislating by ordinances. To these political functions of the governor, it could be joined the military ones, according to military requirements, with the rank of Captain general. The office of captain general involved to be the supreme military chief of the whole territory and he was responsible for recruiting and providing troops, the fortification of the territory, the supply and the shipbuilding.
Beginning in 1522 in the newly conquered Mexico, government units in the Spanish Empire had a royal treasury controlled by a set of oficiales reales (royal officials). There were also sub-treasuries at important ports and mining districts. The officials of the royal treasury at each level of government typically included two to four positions: a tesorero (treasurer), the senior official who guarded money on hand and made payments; a contador (accountant or comptroller), who recorded income and payments, maintained records, and interpreted royal instructions; a factor, who guarded weapons and supplies belonging to the king, and disposed of tribute collected in the province; and a veedor (overseer), who was responsible for contacts with native inhabitants of the province, and collected the king's share of any war booty. The veedor, or overseer, position quickly disappeared in most jurisdictions, subsumed into the position of factor. Depending on the conditions in a jurisdiction, the position of factor/veedor was often eliminated, as well.
The treasury officials were appointed by the king, and were largely independent of the authority of the viceroy, audiencia president or governor. On the death, unauthorized absence, retirement or removal of a governor, the treasury officials would jointly govern the province until a new governor appointed by the king could take up his duties. Treasury officials were supposed to be paid out of the income from the province, and were normally prohibited from engaging in income-producing activities.
Spanish law and indigenous peoples
The protection of the indigenous populations from enslavement and exploitation by Spanish settlers were established in the Laws of Burgos, 1512–1513. The laws were the first codified set of laws governing the behavior of Spanish settlers in the Americas, particularly with regards to treatment of native Indians in the institution of the encomienda. They forbade the maltreatment of natives, and endorsed the Indian Reductions with attempts of conversion to Catholicism. Upon their failure to effectively protect the indigenous and following the Spanish conquest of the Aztec Empire and the Spanish conquest of Peru, more stringent laws to control conquerors' and settlers' exercise of power, especially their maltreatment of the indigenous populations, were promulgated, known as the New Laws (1542). The crown aimed to prevent the formation of an aristocracy in the Indies not under crown control.
Queen Isabel was the first monarch that laid the first stone for the protection of the indigenous peoples in her testament in which the Catholic monarch prohibited the enslavement of the indigenous peoples of the Americas. Then the first such in 1542; the legal thought behind them was the basis of modern International law.
The Valladolid debate (1550–1551) was the first moral debate in European history to discuss the rights and treatment of a colonized people by colonizers. Held in the Colegio de San Gregorio, in the Spanish city of Valladolid, it was a moral and theological debate about the colonization of the Americas, its justification for the conversion to Catholicism and more specifically about the relations between the European settlers and the natives of the New World. It consisted of a number of opposing views about the way natives were to be integrated into colonial life, their conversion to Christianity and their rights and obligations. According to the French historian Jean Dumont The Valladolid debate was a major turning point in world history “In that moment in Spain appeared the dawn of the human rights”.
The indigenous populations in the Caribbean became the focus of the crown in its roles as sovereigns of the empire and patron of the Catholic Church. Spanish conquerors holding grants of indigenous labor in encomienda ruthlessly exploited them. A number of friars in the early period came to the vigorous defense of the indigenous populations, who were new converts to Christianity. Prominent Dominican friars in Santo Domingo, especially Antonio de Montesinos and Bartolomé de Las Casas denounced the maltreatment and pressed the crown to act to protect the indigenous populations. The crown enacted Laws of Burgos (1513) and the Requerimiento to curb the power of the Spanish conquerors and give indigenous populations the opportunity to peacefully embrace Spanish authority and Christianity. Neither was effective in its purpose. Las Casas was officially appointed Protector of the Indians and spent his life arguing forcefully on their behalf. The New Laws of 1542 were the result, limiting the power of encomenderos, the private holders of grants to indigenous labor previously held in perpetuity. The crown was open to limiting the inheritance of encomiendas in perpetuity as a way to extinguish the coalescence of a group of Spaniards impinging on royal power. In Peru, the attempt of the newly appointed viceroy, Blasco Núñez Vela, to implement the New Laws so soon after the conquest sparked a revolt by conquerors against the viceroy and the viceroy was killed in 1546. In Mexico, Don Martín Cortés, the son and legal heir of conqueror Hernán Cortés, and other heirs of encomiendas led a failed revolt against the crown. Don Martín was sent into exile, while other conspirators were executed.
Indigenous peoples and colonial rule
The conquest of the Aztec and Inca empires ended their sovereignty over their respective territorial expanses, replaced by the Spanish Empire. However, the Spanish Empire could not have ruled these vast territories and dense indigenous populations without utilizing the existing indigenous political and economic structures at the local level. A key to this was the cooperation between most indigenous elites with the new ruling structure. The Spanish recognized indigenous elites as nobles and gave them continuing standing in their communities. Indigenous elites could use the noble titles don and doña, were exempt from the head-tax, and could entail their landholdings into cacicazgos. These elites played an intermediary role between the Spanish rulers and indigenous commoners. Since in central and southern Mexico (Mesoamerica) and the highland Andes indigenous peoples had existing traditions of payment of tribute and required labor service, the Spanish could tap into these systems to extract wealth. There were few Spaniards and huge indigenous populations, so utilizing indigenous intermediaries was a practical solution to the incorporation of the indigenous population into the new regime of rule. By maintaining hierarchical divisions within communities, indigenous noblemen were the direct interface between the indigenous and Spanish spheres and kept their positions so long as they continued to be loyal to the Spanish crown.
The exploitation and demographic catastrophe that indigenous peoples experienced from Spanish rule in the Caribbean also occurred
as Spaniards expanded their control over territories and their indigenous populations. The crown set the indigenous communities legally apart from Spaniards (as well as Blacks), who comprised the República de Españoles, with the creation of the República de Indios. The crown attempted to curb Spaniards' exploitation, banning Spaniards' bequeathing their private grants of indigenous communities' tribute and encomienda labor in 1542 in the New Laws. In Mexico, the crown established the General Indian Court (Juzgado General de Indios), which heard disputes affecting individual indigenous as well as indigenous communities. Lawyers for these cases were funded by a half-real tax, an early example of legal aid for the poor. A similar legal apparatus was set up in Lima.
The Spaniards systematically attempted to transform structures of indigenous governance to those more closely resembling those of Spaniards, so the indigenous city-state became a Spanish town and the indigenous noblemen who ruled became officeholders of the town council (cabildo). Although the structure of the indigenous cabildo looked similar to that of the Spanish institution, its indigenous functionaries continued to follow indigenous practices. In central Mexico, there exist minutes of the sixteenth-century meetings in Nahuatl of the Tlaxcala cabildo. Indigenous noblemen were particularly important in the early period of colonization, since the economy of the encomienda was initially built on the extraction of tribute and labor from the commoners in their communities. As the colonial economy became more diversified and less dependent on these mechanisms for the accumulation of wealth, the indigenous noblemen became less important for the economy. However, noblemen became defenders of the rights to land and water controlled by their communities. In colonial Mexico, there are petitions to the king about a variety of issues important to particular indigenous communities when the noblemen did not get a favorable response from the local friar or priest or local royal officials.
Works by historians in the twentieth and twenty-first centuries have expanded the understanding of the impact of the Spanish conquest and changes during the more than three hundred years of Spanish rule. There are many such works for Mexico, often drawing on native-language documentation in Nahuatl, Only the most valuable low bulk products would be exported.
Agricultural export products
Cacao beans for chocolate emerged as an export product as Europeans developed a taste for sweetened chocolate. Another important export product was cochineal, a color-fast red dye made from dried insects living on cacti. It became the second-most valuable export from Spanish America after silver.
19th century
During the Napoleonic Peninsular War in Europe between France and Spain, assemblies called juntas were established to rule in the name of Ferdinand VII of Spain.
The Libertadores (Spanish and Portuguese for "Liberators") were the principal leaders of the Spanish American wars of independence. They were predominantly criollos (Americas-born people of European ancestry, mostly Spanish or Portuguese), bourgeois and influenced by liberalism and in some cases with military training in the mother country.
In 1809 the first declarations of independence from Spanish rule occurred in the Viceroyalty of Peru. The first two were in the Alto Perú, present-day Bolivia, at Charcas (present day Sucre, May 25), and La Paz (July 16); and the third in present-day Ecuador at Quito (August 10). In 1810 Mexico declared independence, with the Mexican War of Independence following for over a decade. In 1821 Treaty of Córdoba established Mexican independence from Spain and concluded the War. The Plan of Iguala was part of the peace treaty to establish a constitutional foundation for an independent Mexico.
These began a movement for colonial independence that spread to Spain's other colonies in the Americas. The ideas from the French and the American Revolution influenced the efforts. All of the colonies, except Cuba and Puerto Rico, attained independence by the 1820s. The British Empire offered support, wanting to end the Spanish monopoly on trade with its colonies in the Americas.
In 1898, the United States achieved victory in the Spanish–American War with Spain, ending the Spanish colonial era. Spanish possession and rule of its remaining colonies in the Americas ended in that year with its sovereignty transferred to the United States. The United States took occupation of Cuba, the Philippines, and Puerto Rico. Puerto Rico continues to be a possession of the United States, now officially continues as a self-governing unincorporated territory.
In popular culture
In the twentieth century, there have been a number of films depicting the life of Christopher Columbus. One in 1949 stars Frederic March as Columbus. With the 1992 commemoration (and critique) of Columbus, more cinematic and television depictions of the era appeared, including a TV miniseries with Gabriel Byrne as Columbus. Christopher Columbus: The Discovery (1992) has Georges Corroface as Columbus with Marlon Brando as Tomás de Torquemada and Tom Selleck as King Ferdinand and Rachel Ward as Queen Isabela. 1492: The Conquest of Paradise stars Gérard Depardieu as Columbus and Sigorney Weaver as Queen Isabel. A 2010 film, Even the Rain starring Gael García Bernal, is set in modern Cochabamba, Bolivia during the Cochabamba Water War, following a film crew shooting a controversial life of Columbus. A 1995 Bolivian-made film is in some ways similar to Even the Rain is To Hear the Birds Singing, with a modern film crew going to an indigenous settlement to shot a film about the Spanish conquest and end up replicating aspects of the conquest.
For the conquest of Mexico, a 2019 an eight-episode Mexican TV miniseries Hernán depicts the conquest of Mexico. Other notable historical figures in the production are Malinche, Cortés cultural translator, and other conquerors Pedro de Alvarado, Cristóbal de Olid, Bernal Díaz del Castillo. Showing the indigenous sides are Xicotencatl, a leader of the Spaniards' Tlaxcalan allies, and Aztec emperors Moctezuma II and Cuitlahuac. The story of Doña Marina, also known as Malinche, was the subject of a Mexican TV miniseries in 2018. A major production in Mexico was the 1998 film, The Other Conquest, which focuses on a Nahua in the post-conquest era and the evangelization of central Mexico.
The epic journey of Álvar Núñez Cabeza de Vaca has been portrayed in a 1991 feature-length Mexican film, Cabeza de Vaca. The similarly epic and dark journey of Lope de Aguirre was made into a film by Werner Herzog, Aguirre, the Wrath of God (1972), starring Klaus Kinsky.
The Mission was a 1996 film idealizing a Jesuit mission to the Guaraní in the territory disputed between Spain and Portugal. The film starred Robert De Niro, Jeremy Irons, and Liam Neeson and It won an Academy Award.
The life of seventeenth-century Mexican nun, Sor Juana Inés de la Cruz, renowned in her lifetime, has been portrayed in a 1990 Argentine film, I, the Worst of All and in a TV miniseries Juana Inés. Seventeenth-century Mexican trickster, Martín Garatuza was the subject of a late nineteenth-century novel by Mexican politician and writer, Vicente Riva Palacio. In the twentieth century, Garatuza's life was the subject of a 1935 film and a 1986 telenovela, Martín Garatuza.
For the independence era, the 2016 Bolivian-made film made about Mestiza independence leader Juana Azurduy de Padilla is part of the recent recognition of her role in the independence of Argentina and Bolivia.
Dominions
North America, Central America
Viceroyalty of New Spain (1535–1821)
Las Californias
Nuevo Reino de León
Territorio de Nutka
Nuevo Santander
Nueva Vizcaya
Santa Fe de Nuevo México
Nueva Extremadura
Nueva Galicia
Captaincy General of Guatemala
La Luisiana (until 1801).
Spanish Florida (until 1819).
Captaincy General of Cuba (until 1898)
Captaincy General of Puerto Rico (until 1898)
Santo Domingo (last Spanish rule 1861–1865)
Captaincy General of the Philippines (administered by New Spain from 1565 to 1821, then after Mexican independence transferred to and directly administered by Madrid until 1898)
South America
Viceroyalty of Perú (1542–1824)
Captaincy General of Chile (1541–1818)
Viceroyalty of New Granada (1717–1819)
Captaincy General of Venezuela
Viceroyalty of the Río de la Plata (1776–1814)
See also
Atlantic World
Cartography of Latin America
Castas
Spanish Empire
Spanish American Enlightenment
Black legend (Spain)
Hapsburg Spain
List of largest empires
Population history of indigenous peoples of the Americas
Valladolid debate
Viceroyalty of New Spain
Viceroyalty of Peru
Notes
References
Further reading
Altman, Ida and David Wheat, eds. The Spanish Caribbean and the Atlantic World in the Long Sixteenth Century. Lincoln: University of Nebraska Press 2019.
Brading, D. A., The First America: the Spanish Monarchy, Creole Patriots, and the Liberal State, 1492–1867 (Cambridge: Cambridge University Press, 1993).
Burkholder, Mark A. and Lyman L. Johnson. Colonial Latin America, 10th ed. Oxford University Press 2018.
Chipman, Donald E. and Joseph, Harriett Denise. Spanish Texas, 1519–1821. (Austin: University of Texas Press, 1992)
Clark, Larry R. Imperial Spain’s Failure to Colonize Southeast North America: 1513 - 1587 (TimeSpan Press 2017) updated edition to Spanish Attempts to Colonize Southeast North America (McFarland Publishing, 2010)
Elliott, J. H. Empires of the Atlantic World: Britain and Spain in America, 1492–1830 (New Haven: Yale University Press, 2007)
Gibson, Carrie. Empire's Crossroads: A History of the Caribbean from Columbus to the Present Day (New York: Grove Press, 2015)
Gibson, Carrie. El Norte: The Epic and Forgotten Story of Hispanic North America (New York: Atlantic Monthly Press, 2019)
Gibson, Charles. Spain in America. New York: Harper and Row 1966.
Goodwin, Robert. América: The Epic Story of Spanish North America, 1493-1898 (London: Bloomsbury Publishing, 2019)
Hanke, Lewis. The Spanish Struggle for Justice in the Conquest of America (Boston: Little, Brown, and Co., 1965).
Haring, Clarence H. The Spanish Empire in America (London: Oxford University Press, 1947)
Kamen, Henry. Empire: How Spain Became a World Power, 1492–1763 (HarperCollins, 2004)
Lockhart, James and Stuart B. Schwartz. Early Latin America: A History of Colonial Spanish America and Brazil. New York: Cambridge University Press 1983.
Merriman, Roger Bigelow. The Rise of the Spanish Empire in the Old World and in the New (4 Vol. London: Macmillan, 1918) online free
Portuondo, María M. Secret Science: Spanish Cosmography and the New World (Chicago: Chicago UP, 2009).
Restall, Matthew and Fernández-Armesto, Felipe. The Conquistadors: A Very Short Introduction (2012) excerpt and text search
Restall, Matthew and Kris Lane. Latin America in Colonial Times. New York: Cambridge University Press 2011.
Thomas, Hugh. Rivers of Gold: the rise of the Spanish Empire, from Columbus to Magellan (2005)
Weber, David J. The Spanish Frontier in North America (Yale University Press, 1992)
Historiography
Cañeque, Alejandro "The Political and Institutional History of Colonial Spanish America" History Compass (April 2013) 114 pp 280–291,
Herzog, Tamar (2018). "Indigenous Reducciones and Spanish Resettlement: Placing Colonial and European History in Dialogue". Ler Historia (72): 9-30. doi:10.4000/lerhistoria.3146. ISSN 0870-6182.
Weber, David J. "John Francis Bannon and the Historiography of the Spanish Borderlands: Retrospect and Prospect." Journal of the Southwest (1987): 331–363. See John Francis Bannon
Weber, David J. “The Spanish Borderlands, Historiography Redux.” The History Teacher, vol. 39, no. 1, 2005, pp. 43–56. JSTOR, online.
External links
Spanish Exploration and Conquest of North America
Spain in America (Edward Gaylord Bourne, 1904) 'Spain in America'
The Spanish Borderlands (Herbert E. Bolton, 1921) 'The Spanish Borderlands'
Indigenous Puerto Rico DNA evidence upsets established history
“The Political Force of Images,” Vistas: Visual Culture in Spanish America, 1520–1820.
Spanish exploration in the Age of Discovery
16th century in North America
16th century in Central America
16th century in South America
16th century in the Spanish Empire
History of indigenous peoples of the Americas
History of the Colony of Santo Domingo
Former empires
Americas
History of the Americas | false | [
"Don Juan Manuel's Tales of Count Lucanor, in Spanish Libro de los ejemplos del conde Lucanor y de Patronio (Book of the Examples of Count Lucanor and of Patronio), also commonly known as El Conde Lucanor, Libro de Patronio, or Libro de los ejemplos (original Old Castilian: Libro de los enxiemplos del Conde Lucanor et de Patronio), is one of the earliest works of prose in Castilian Spanish. It was first written in 1335.\n\nThe book is divided into four parts. The first and most well-known part is a series of 51 short stories (some no more than a page or two) drawn from various sources, such as Aesop and other classical writers, and Arabic folktales.\n\nTales of Count Lucanor was first printed in 1575 when it was published at Seville under the auspices of Argote de Molina. It was again printed at Madrid in 1642, after which it lay forgotten for nearly two centuries.\n\nPurpose and structure\n\nA didactic, moralistic purpose, which would color so much of the Spanish literature to follow (see Novela picaresca), is the mark of this book. Count Lucanor engages in conversation with his advisor Patronio, putting to him a problem (\"Some man has made me a proposition...\" or \"I fear that such and such person intends to...\") and asking for advice. Patronio responds always with the greatest humility, claiming not to wish to offer advice to so illustrious a person as the Count, but offering to tell him a story of which the Count's problem reminds him. (Thus, the stories are \"examples\" [ejemplos] of wise action.) At the end he advises the Count to do as the protagonist of his story did.\n\nEach chapter ends in more or less the same way, with slight variations on: \"And this pleased the Count greatly and he did just so, and found it well. And Don Johán (Juan) saw that this example was very good, and had it written in this book, and composed the following verses.\" A rhymed couplet closes, giving the moral of the story.\n\nOrigin of stories and influence on later literature\nMany of the stories written in the book are the first examples written in a modern European language of various stories, which many other writers would use in the proceeding centuries. Many of the stories he included were themselves derived from other stories, coming from western and Arab sources.\n\nShakespeare's The Taming of the Shrew has the basic elements of Tale 35, \"What Happened to a Young Man Who Married a Strong and Ill-tempered Woman\".\n\nTale 32, \"What Happened to the King and the Tricksters Who Made Cloth\" tells the story that Hans Christian Andersen made popular as The Emperor's New Clothes.\n\nStory 7, \"What Happened to a Woman Named Truhana\", a version of Aesop's The Milkmaid and Her Pail, was claimed by Max Müller to originate in the Hindu cycle Panchatantra.\n\nTale 2, \"What happened to a good Man and his Son, leading a beast to market,\" is the familiar fable The miller, his son and the donkey.\n\nIn 2016, Baroque Decay released a game under the name \"The Count Lucanor\". As well as some protagonists' names, certain events from the books inspired past events in the game.\n\nThe stories\n\nThe book opens with a prologue which introduces the characters of the Count and Patronio. The titles in the following list are those given in Keller and Keating's 1977 translation into English. James York's 1868 translation into English gives a significantly different ordering of the stories and omits the fifty-first.\n\n What Happened to a King and His Favorite \n What Happened to a Good Man and His Son \n How King Richard of England Leapt into the Sea against the Moors\n What a Genoese Said to His Soul When He Was about to Die \n What Happened to a Fox and a Crow Who Had a Piece of Cheese in His Beak\n How the Swallow Warned the Other Birds When She Saw Flax Being Sown \n What Happened to a Woman Named Truhana \n What Happened to a Man Whose Liver Had to Be Washed \n What Happened to Two Horses Which Were Thrown to the Lion \n What Happened to a Man Who on Account of Poverty and Lack of Other Food Was Eating Bitter Lentils \n What Happened to a Dean of Santiago de Compostela and Don Yllán, the Grand Master of Toledo\n What Happened to the Fox and the Rooster \n What Happened to a Man Who Was Hunting Partridges \n The Miracle of Saint Dominick When He Preached against the Usurer \n What Happened to Lorenzo Suárez at the Siege of Seville \n The Reply that count Fernán González Gave to His Relative Núño Laynes \n What Happened to a Very Hungry Man Who Was Half-heartedly Invited to Dinner \n What Happened to Pero Meléndez de Valdés When He Broke His Leg \n What Happened to the Crows and the Owls \n What Happened to a King for Whom a Man Promised to Perform Alchemy \n What Happened to a Young King and a Philosopher to Whom his Father Commended Him \n What Happened to the Lion and the Bull \n How the Ants Provide for Themselves \n What Happened to the King Who Wanted to Test His Three Sons \n What Happened to the Count of Provence and How He Was Freed from Prison by the Advice of Saladin\n What Happened to the Tree of Lies \n What Happened to an Emperor and to Don Alvarfáñez Minaya and Their Wives \n What Happened in Granada to Don Lorenzo Suárez Gallinato When He Beheaded the Renegade Chaplain \n What Happened to a Fox Who Lay down in the Street to Play Dead \n What Happened to King Abenabet of Seville and Ramayquía His Wife \n How a Cardinal Judged between the Canons of Paris and the Friars Minor \n What Happened to the King and the Tricksters Who Made Cloth \n What Happened to Don Juan Manuel's Saker Falcon and an Eagle and a Heron \n What Happened to a Blind Man Who Was Leading Another \n What Happened to a Young Man Who Married a Strong and Ill-tempered Woman\n What Happened to a Merchant When He Found His Son and His Wife Sleeping Together \n What Happened to Count Fernán González with His Men after He Had Won the Battle of Hacinas \n What Happened to a Man Who Was Loaded down with Precious Stones and Drowned in the River \n What Happened to a Man and a Swallow and a Sparrow \n Why the Seneschal of Carcassonne Lost His Soul \n What Happened to a King of Córdova Named Al-Haquem \n What Happened to a Woman of Sham Piety \n What Happened to Good and Evil and the Wise Man and the Madman \n What Happened to Don Pero Núñez the Loyal, to Don Ruy González de Zavallos, and to Don Gutier Roiz de Blaguiello with Don Rodrigo the Generous \n What Happened to a Man Who Became the Devil's Friend and Vassal \n What Happened to a Philosopher who by Accident Went down a Street Where Prostitutes Lived \n What Befell a Moor and His Sister Who Pretended That She Was Timid \n What Happened to a Man Who Tested His Friends \n What Happened to the Man Whom They Cast out Naked on an Island When They Took away from Him the Kingdom He Ruled \n What Happened to Saladin and a Lady, the Wife of a Knight Who Was His Vassal \n What Happened to a Christian King Who Was Very Powerful and Haughty\n\nReferences\n\nNotes\n\nBibliography\n\n Sturm, Harlan\n\n Wacks, David\n\nExternal links\n\nThe Internet Archive provides free access to the 1868 translation by James York.\nJSTOR has the to the 1977 translation by Keller and Keating.\nSelections in English and Spanish (pedagogical edition) with introduction, notes, and bibliography in Open Iberia/América (open access teaching anthology)\n\n14th-century books\nSpanish literature\n1335 books",
"What Happened to Jones may refer to:\n What Happened to Jones (1897 play), a play by George Broadhurst\n What Happened to Jones (1915 film), a lost silent film\n What Happened to Jones (1920 film), a lost silent film\n What Happened to Jones (1926 film), a silent film comedy"
]
|
[
"Spanish colonization of the Americas",
"Mexico",
"When did the colonization of Mexico begin?",
"The Spanish conquest of Mexico is generally understood to be the Spanish conquest of the Aztec Empire (1519-21) which was the base for later conquests of other regions.",
"What happened during this period?",
"Later conquests were protracted campaigns with less spectacular results than the conquest of the Aztecs."
]
| C_481aa00f10ba4a8c8e8950d309ce24a0_1 | What was so spectacular about the conquest of the Aztecs? | 3 | What was so spectacular about the conquest of the Aztecs? | Spanish colonization of the Americas | The Spanish conquest of Mexico is generally understood to be the Spanish conquest of the Aztec Empire (1519-21) which was the base for later conquests of other regions. Later conquests were protracted campaigns with less spectacular results than the conquest of the Aztecs. The Spanish conquest of Yucatan, the Spanish conquest of Guatemala, the war of Mexico's west, and the Chichimeca War in northern Mexico expanded Spanish control over territory and indigenous populations. But not until the Spanish conquest of Peru was the conquest of the Aztecs matched in scope by the victory over the Inca empire in 1532. The Spanish conquest of the Aztec empire was led by Hernan Cortes. The victory over the Aztecs was relatively quick, from 1519 to 1521, and aided by his Tlaxcala and other allies from indigenous city-states or altepetl. These polities allied against the Aztec empire, to which they paid tribute following conquest or threat of conquest, leaving the city-states' political hierarchy and social structure in place. The Spanish conquest of Yucatan was a much longer campaign, from 1551 to 1697, against the Maya peoples in the Yucatan Peninsula of present-day Mexico and northern Central America. Hernan Cortes' landing ashore at present day Veracruz and founding the Spanish city there on April 22, 1519 marked the beginning of 300 years of Spanish hegemony over the region. The assertion of royal control over the Kingdom of New Spain and the initial Spanish conquerors took over a decade, with importance of the region meriting the creation of the Viceroyalty of New Spain. Established by Charles V in 1535, the first viceroy was Don Antonio de Mendoza. Spain colonized and exerted control of Alta California through the Spanish missions in California until the Mexican secularization act of 1833. CANNOTANSWER | The victory over the Aztecs was relatively quick, from 1519 to 1521, and aided by his Tlaxcala and other allies from indigenous city-states or altepetl. | The Spanish colonization of the Americas began under the Crown of Castile and was spearheaded by the Spanish conquistadors. The Americas were invaded and incorporated into the Spanish Empire, with the exception of Brazil, British America, and some small regions of South America and the Caribbean. The crown created civil and religious structures to administer the vast territory. The main motivations for colonial expansion were profit through resource extraction and the spread of Catholicism through indigenous conversions.
Beginning with the 1492 arrival of Christopher Columbus in the Caribbean and gaining control over more territory for over three centuries, the Spanish Empire would expand across the Caribbean Islands, half of South America, most of Central America and much of North America. It is estimated that during the colonial period (1492–1832), a total of 1.86 million Spaniards settled in the Americas, and a further 3.5 million immigrated during the post-colonial era (1850–1950); the estimate is 250,000 in the 16th century and most during the 18th century, as immigration was encouraged by the new Bourbon dynasty.
By contrast, the indigenous population plummeted by an estimated 80% in the first century and a half following Columbus's voyages, primarily through the spread of disease, forced labor and slavery for resource extraction, and missionization. This has been argued to be the first large-scale act of genocide in the modern era.
In the early 19th century, the Spanish American wars of independence resulted in the secession and subsequent division of most Spanish territories in the Americas, except for Cuba and Puerto Rico, which were lost to the United States in 1898, following the Spanish–American War. The loss of these territories ended Spanish rule in the Americas.
Imperial expansion
The expansion of Spain’s territory took place under the Catholic Monarchs Isabella of Castile, Queen of Castile and her husband King Ferdinand, King of Aragon, whose marriage marked the beginning of Spanish power beyond the Iberian peninsula. They pursued a policy of joint rule of their kingdoms and created the initial stage of a single Spanish monarchy, completed under the eighteenth-century Bourbon monarchs. The first expansion of territory was the conquest of the Muslim Emirate of Granada on January 1, 1492, the culmination of the Christian Reconquest of the Iberian peninsula, held by the Muslims since 711. On March 31, 1492, the Catholic Monarch ordered the expulsion of the Jews in Spain who refused to convert to Christianity. On October 12, 1492, Genoese mariner Christopher Columbus made landfall in the Western Hemisphere.
Even though Castile and Aragon were ruled jointly by their respective monarchs, they remained separate kingdoms so that when the Catholic Monarchs gave official approval for the plans for Columbus’s voyage to reach "the Indies" by sailing West, the funding came from the queen of Castile. The profits from Spanish expedition flowed to Castile. The Kingdom of Portugal authorized a series of voyages down the coast of Africa and when they rounded the southern tip, were able to sail to India and further east. Spain sought similar wealth, and authorized Columbus’s voyage sailing west. Once the Spanish settlement in the Caribbean occurred, Spain and Portugal formalized a division of the world between them in the 1494 Treaty of Tordesillas. The deeply pious Isabella saw the expansion of Spain's sovereignty inextricably paired with the evangelization of non-Christian peoples, the so-called “spiritual conquest” with the military conquest. Pope Alexander VI in a 4 May 1493 papal decree, Inter caetera, divided rights to lands in the Western Hemisphere between Spain and Portugal on the proviso that they spread Christianity. These formal arrangements between Spain and Portugal and the pope were ignored by other European powers.
General principles of expansion
The Spanish expansion has sometimes been succinctly summed up as "gold, glory, God." The search for material wealth, the enhancement of the conquerors' and the crown's position, and the expansion of Christianity. In the extension of Spanish sovereignty to its overseas territories, authority for expeditions (entradas) of discovery, conquest, and settlement resided in the monarchy. Expeditions required authorization by the crown, which laid out the terms of such expedition. Virtually all expeditions after the Columbus voyages, which were funded by the crown of Castile, were done at the expense of the leader of the expedition and its participants. Although often the participants, conquistadors, are now termed “soldiers”, they were not paid soldiers in ranks of an army, but rather soldiers of fortune, who joined an expedition with the expectation of profiting from it. The leader of an expedition, the adelantado was a senior with material wealth and standing who could persuade the crown to issue him a license for an expedition. He also had to attract participants to the expedition who staked their own lives and meager fortunes on the expectation of the expedition’s success. The leader of the expedition pledged the larger share of capital to the enterprise, which in many ways functioned as a commercial firm. Upon the success of the expedition, the spoils of war were divvied up in proportion to the amount a participant initially staked, with the leader receiving the largest share. Participants supplied their own armor and weapons, and those who had a horse received two shares, one for himself, the second recognizing the value of the horse as a machine of war. For the conquest era, two names of Spaniards are generally known because they led the conquests of high indigenous civilizations, Hernán Cortés, leader of the expedition that conquered the Aztecs of Central Mexico, and Francisco Pizarro, leader of the conquest of the Inca in Peru.
Caribbean islands and the Spanish Main
Until his dying day, Columbus was convinced that he had reached Asia, the Indies. From that misperception the Spanish called the indigenous peoples of the Americas, "Indians" (indios), lumping a multiplicity of civilizations, groups, and individuals into a single category. The Spanish royal government called its overseas possessions "The Indies" until its empire dissolved in the nineteenth century. Patterns set in this early period of exploration and colonization were to endure as Spain expanded further, even as the region became less important in the overseas empire after the conquests of Mexico and Peru.
In the Caribbean, there was no large-scale Spanish conquest of indigenous peoples, but there was indigenous resistance. Columbus made four voyages to the West Indies as the monarchs granted Columbus vast powers of governance over this unknown part of the world. The crown of Castile financed more of his trans-Atlantic journeys, a pattern they would not repeat elsewhere. Effective Spanish settlement began in 1493, when Columbus brought livestock, seeds, agricultural equipment. The first settlement of La Navidad, a crude fort built on his first voyage in 1492, had been abandoned by the time he returned in 1493. He then founded the settlement of La Isabela on the island they named Hispaniola (now divided into Haiti and the Dominican Republic).
Spanish explorations of other islands in the Caribbean and what turned out to be the mainland of South and Central America occupied them for over two decades. Columbus had promised that the region he now controlled held a huge treasure in the form of gold and spices. Spanish settlers found relatively dense populations of indigenous peoples, who were agriculturalists living in villages ruled by leaders not part of a larger integrated political system. For the Spanish, these populations were there for their exploitation, to supply their own settlements with foodstuffs, but more importantly for the Spanish, to extract mineral wealth or produce another valuable commodity for Spanish enrichment. The labor of dense populations of Tainos were allocated to Spanish settlers in an institution known as the encomienda, where particular indigenous settlements were awarded to individual Spaniards. There was surface gold found in early islands, and holders of encomiendas put the indigenous to work panning for it. For all practical purposes, this was slavery. Queen Isabel put an end to formal slavery, declaring the indigenous to be vassals of the crown, but Spaniards' exploitation continued. The Taino population on Hispaniola went from hundreds of thousands or millions –- the estimates by scholars vary widely—but in the mid-1490s, they were practically wiped out. Disease and overwork, disruption of family life and the agricultural cycle (which caused severe food shortages to Spaniards dependent on them) rapidly decimated the indigenous population. From the Spanish viewpoint, their source of labor and viability of their own settlements was at risk. After the collapse of the Taino population of Hispaniola, Spaniards took to slave raiding and settlement on nearby islands, including Cuba, Puerto Rico, and Jamaica, replicating the demographic catastrophe there as well.
Dominican friar Antonio de Montesinos denounced Spanish cruelty and abuse in a sermon in 1511, which comes down to us in the writings of Dominican friar Bartolomé de las Casas. In 1542 Las Casas wrote a damning account of this genocide, A Short Account of the Destruction of the Indies. It was translated quickly to English and became the basis for the anti-Spanish writings, collectively known as the Black Legend.
The first mainland explorations by Spaniards were followed by a phase of inland expeditions and conquest. In 1500 the city of Nueva Cádiz was founded on the island of Cubagua, Venezuela, followed by the founding of Santa Cruz by Alonso de Ojeda in present-day Guajira peninsula. Cumaná in Venezuela was the first permanent settlement founded by Europeans in the mainland Americas, in 1501 by Franciscan friars, but due to successful attacks by the indigenous people, it had to be refounded several times, until Diego Hernández de Serpa's foundation in 1569. The Spanish founded San Sebastián de Uraba in 1509 but abandoned it within the year. There is indirect evidence that the first permanent Spanish mainland settlement established in the Americas was Santa María la Antigua del Darién.
Spaniards spent over 25 years in the Caribbean where their initial high hopes of dazzling wealth gave way to continuing exploitation of disappearing indigenous populations, exhaustion of local gold mines, initiation of cane sugar cultivation as an export product, and importation of African slaves as a labor force. Spaniards continued to expand their presence in the circum-Caribbean region with expeditions. One was by Francisco Hernández de Córdoba in 1517, another by Juan de Grijalva in 1518, which brought promising news of possibilities there. Even by the mid-1510s, the western Caribbean was largely unexplored by Spaniards. A well-connected settler in Cuba, Hernán Cortés received authorization in 1519 by the governor of Cuba to form an expedition of exploration-only to this far western region. That expedition was to make world history.
Mexico
It wasn’t until Spanish expansion into modern-day Mexico that Spanish explorers were able to find wealth on the scale that they had been hoping for. Unlike Spanish expansion in the Caribbean, which involved limited armed combat and sometimes the participation of indigenous allies, the conquest of central Mexico was protracted and necessitated indigenous allies who chose to participate for their own purposes. The conquest of the Aztec empire involved the combined effort of armies from many indigenous allies, spearheaded by a small Spanish force of conquistadors. The Aztec empire was a fragile confederation of city-states. Spaniards persuaded the leaders of subordinate city-states and one city-state never conquered by the Aztecs, Tlaxcala, to join them in huge numbers, with thousands, perhaps tens of thousands of indigenous warriors. The conquest of central Mexico is one of the best-documented events in world history, with accounts by the expedition leader Hernán Cortés, many other Spanish conquistadors, including Bernal Díaz del Castillo, indigenous allies from the city-states altepetl of Tlaxcala, Texcoco, and Huexotzinco, but also importantly, the defeated of Tenochtitlan, the Aztec capital. What can be called the visions of the vanquished, indigenous accounts written in the sixteenth century, are a rare case of history being written by those other than the victors.
The capture of the Aztec emperor Moctezuma II by Cortés was not a brilliant stroke of innovation, but came from the playbook that the Spanish developed during their period in the Caribbean. The composition of the expedition was the standard pattern, with a senior leader, and participating men investing in the enterprise with the full expectation of rewards if they did not lose their lives. Cortés’s seeking indigenous allies was a typical tactic of warfare: divide and conquer. But the indigenous allies had much to gain by throwing off Aztec rule. For the Spaniards’ Tlaxcalan allies, their crucial support gained them enduring political legacy into the modern era, the Mexican state of Tlaxcala.
The conquest of central Mexico sparked further Spanish conquests, following the pattern of conquered and consolidated regions being the launching point for further expeditions. These were often led by secondary leaders, such as Pedro de Alvarado. Later conquests in Mexico were protracted campaigns with less spectacular results than the conquest of the Aztecs. The Spanish conquest of Yucatán, the Spanish conquest of Guatemala, the conquest of the Tarascans/Purépecha of Michoacan, the war of Mexico's west, and the Chichimeca War in northern Mexico expanded Spanish control over territory and indigenous populations. But not until the Spanish conquest of Peru was the conquest of the Aztecs matched in scope by the victory over the Inca empire in 1532.
Peru
In 1532 at the Battle of Cajamarca a group of Spaniards under Francisco Pizarro and their indigenous Andean Indian auxiliaries native allies ambushed and captured the Emperor Atahualpa of the Inca Empire. It was the first step in a long campaign that took decades of fighting to subdue the mightiest empire in the Americas. In the following years, Spain extended its rule over the Empire of the Inca civilization.
The Spanish took advantage of a recent civil war between the factions of the two brothers Emperor Atahualpa and Huáscar, and the enmity of indigenous nations the Incas had subjugated, such as the Huancas, Chachapoyas, and Cañaris. In the following years the conquistadors and indigenous allies extended control over Greater Andes Region. The Viceroyalty of Perú was established in 1542. The last Inca stronghold was conquered by the Spanish in 1572.
Peru was the last territory in the continent under Spanish rule, which ended on 9 December 1824 at the Battle of Ayacucho (Spanish rule continued until 1898 in Cuba and Puerto Rico).
Chile
Chile was explored by Spaniards based in Peru, where Spaniards found the fertile soil and mild climate attractive. The Mapuche people of Chile, whom the Spaniards called Araucanians, resisted fiercely. The Spanish did establish the settlement of Chile in 1541, founded by Pedro de Valdivia.
Southward colonization by the Spanish in Chile halted after the conquest of Chiloé Archipelago in 1567. This is thought to have been the result of an increasingly harsh climate to the south, and the lack of a populous and sedentary indigenous population to settle among for the Spanish in the fjords and channels of Patagonia. South of the Bío-Bío River the Mapuche successfully reversed colonization with the Destruction of the Seven Cities in 1599–1604. This Mapuche victory laid the foundation for the establishment of a Spanish-Mapuche frontier called La Frontera. Within this frontier the city of Concepción assumed the role of "military capital" of Spanish-ruled Chile. With a hostile indigenous population, no obvious mineral or other exploitable resources, and little strategic value, Chile was a fringe area of colonial Spanish America, hemmed in geographically by the Andes to the east, Pacific Ocean to the west, and indigenous to the south.
New Granada
Between 1537 and 1543, six Spanish expeditions entered highland Colombia, conquered the Muisca Confederation, and set up the New Kingdom of Granada (). Gonzalo Jiménez de Quesada was the leading conquistador with his brother Hernán second in command. It was governed by the president of the Audiencia of Bogotá, and comprised an area corresponding mainly to modern-day Colombia and parts of Venezuela. The conquistadors originally organized it as a captaincy general within the Viceroyalty of Peru. The crown established the audiencia in 1549. Ultimately, the kingdom became part of the Viceroyalty of New Granada first in 1717 and permanently in 1739. After several attempts to set up independent states in the 1810s, the kingdom and the viceroyalty ceased to exist altogether in 1819 with the establishment of Gran Colombia.
Venezuela
Venezuela was first visited by Europeans during the 1490s, when Columbus was in control of the region, and the region as a source for indigenous slaves for Spaniards in Cuba and Hispaniola, since the Spanish destruction of the local indigenous population. There were few permanent settlements, but Spaniards settled the coastal islands of Cubagua and Margarita to exploit the pearl beds. Western Venezuela’s history took an atypical direction in 1528, when Spain’s first Hapsburg monarch, Charles I granted rights to colonize to the German banking family of the Welsers. Charles sought to be elected Holy Roman Emperor and was willing to pay whatever it took to achieve that. He became deeply indebted to the German Welser and Fugger banking families. To satisfy his debts to the Welsers, he granted them the right to colonize and exploit western Venezuela, with the proviso that they found two towns with 300 settlers each and construct fortifications. They established the colony of Klein-Venedig in 1528. They founded the towns of Coro and Maracaibo. They were aggressive in making their investment pay, alienating the indigenous populations and Spaniards alike. Charles revoked the grant in 1545, ending the episode of German colonization.
Río de la Plata and Paraguay
Argentina was not conquered or later exploited in the grand fashion of central Mexico or Peru, since the indigenous population was sparse and there were no precious metals or other valuable resources. Although today Buenos Aires at the mouth of Río de la Plata is a major metropolis, it held no interest for Spaniards and the 1535-36 settlement failed and was abandoned by 1541. Pedro de Mendoza and Domingo Martínez de Irala, who led the original expedition, went inland and founded Asunción, Paraguay, which became the Spaniards' base. A second (and permanent) settlement was established in 1580 by Juan de Garay, who arrived by sailing down the Paraná River from Asunción, now the capital of Paraguay. Exploration from Peru resulted in the foundation of Tucumán in what is now northwest Argentina.
End of era of exploration
The spectacular conquests of central Mexico (1519–21) and Peru (1532) sparked Spaniards' hopes of finding yet another high civilization. Expeditions continued into the 1540s and regional capitals founded by the 1550s. Among the most notable expeditions are Hernando de Soto into southeast North America, leaving from Cuba (1539–42); Francisco Vázquez de Coronado to northern Mexico (1540–42), and Gonzalo Pizarro to Amazonia, leaving from Quito, Ecuador (1541–42). In 1561, Pedro de Ursúa led an expedition of some 370 Spanish (including women and children) into Amazonia to search for El Dorado. Far more famous now is Lope de Aguirre, who led a mutiny against Ursúa, who was murdered. Aguirre subsequently wrote a letter to Philip II bitterly complaining about the treatment of conquerors like himself in the wake of the assertion of crown control over Peru. An earlier expedition that left in 1527 was led by Pánfilo Naváez, who was killed early on. Survivors continued to travel among indigenous groups in the North American south and southwest until 1536. Álvar Núñez Cabeza de Vaca was one of four survivors of that expedition, writing an account of it. The crown later sent him to Asunción, Paraguay to be adelantado there. Expeditions continued to explore territories in hopes of finding another Aztec or Inca empire, with no further success. Francisco de Ibarra led an expedition from Zacatecas in northern New Spain, and founded Durango. Juan de Oñate, is sometimes referred to as "the Last Conquistador", expanded Spanish sovereignty over what is now New Mexico. Like previous conquistadors, Oñate engaged in widespread abuses of the Indian population. Shortly after founding Santa Fe, Oñate was recalled to Mexico City by the Spanish authorities. He was subsequently tried and convicted of cruelty to both natives and colonists and banished from New Mexico for life.
Factors affecting Spanish settlement
Two major factors affected the density of Spanish settlement in the long term. One was the presence or absence of dense, hierarchically organized indigenous populations that could be made to work. The other was the presence or absence of an exploitable resource for the enrichment of settlers. Best was gold, but silver was found in abundance.
The two main areas of Spanish settlement after 1550 were Mexico and Peru, the sites of the Aztec and Inca indigenous civilizations. Equally important, rich deposits of the valuable metal silver. Spanish settlement in Mexico “largely replicated the organization of the area in preconquest times” while in Peru, the center of the Incas was too far south, too remote, and at too high an altitude for the Spanish capital. The capital Lima was built near the Pacific coast. The capitals of Mexico and Peru, Mexico City and Lima came to have large concentrations of Spanish settlers and became the hubs of royal and ecclesiastical administration, large commercial enterprises and skilled artisans, and centers of culture. Although Spaniards had hoped to find vast quantities of gold, the discovery of large quantities of silver became the motor of the Spanish colonial economy, a major source of income for the Spanish crown, and transformed the international economy. Mining regions in both Mexico were remote, outside the zone of indigenous settlement in central and southern Mexico Mesoamerica, but mines in Zacatecas (founded 1548) and Guanajuato (founded 1548) were key hubs in the colonial economy. In Peru, silver was found in a single silver mountain, the Cerro Rico de Potosí, still producing silver in the 21st century. Potosí (founded 1545) was in the zone of dense indigenous settlement, so that labor could be mobilized on traditional patterns to extract the ore. An important element for productive mining was mercury for processing high-grade ore. Peru had a source in Huancavelica (founded 1572), while Mexico had to rely on mercury imported from Spain.
Establishment of early settlements
The Spanish founded towns in the Caribbean, on Hispaniola and Cuba, on a pattern that became spatially similar throughout Spanish America. A central plaza had the most important buildings on the four sides, especially buildings for royal officials and the main church. A checkerboard pattern radiated outward. Residences of the officials and elites were closest to the main square. Once on the mainland, where there were dense indigenous populations in urban settlements, the Spanish could build a Spanish settlement on the same site, dating its foundation to when that occurred. Often they erected a church on the site of an indigenous temple. They replicated the existing indigenous network of settlements, but added a port city. The Spanish network needed a port city so that inland settlements could be connected by sea to Spain. In Mexico, the Hernán Cortés and the men of his expedition founded of the port town of Veracruz in 1519 and constituted themselves as the town councilors, as a means to throw off the authority of the governor of Cuba, who did not authorize an expedition of conquest. start of the conquest of central Mexico; once the Aztec empire was toppled, they founded Mexico City on the ruins of the Aztec capital. Their central official and ceremonial area was built on top of Aztec palaces and temples. In Peru, Spaniards founded the city of Lima as their capital and its nearby port of Callao, rather than the high-altitude site of Cuzco, the center of Inca rule. Spaniards established a network of settlements in areas they conquered and controlled. Important ones include Santiago de Guatemala (1524); Puebla (1531); Querétaro (ca. 1531); Guadalajara (1531–42); Valladolid (now Morelia), (1529–41); Antequera (now Oaxaca(1525–29); Campeche (1541); and Mérida. In southern Central and South America, settlements were founded in Panama (1519); León, Nicaragua (1524); Cartagena (1532); Piura (1532); Quito (1534); Trujillo (1535); Cali (1537) Bogotá (1538); Quito (1534); Cuzco 1534); Lima (1535); Tunja, (1539); Huamanga 1539; Arequipa (1540); Santiago de Chile (1544) and Concepción, Chile (1550). Settled from the south were Buenos Aires (1536, 1580); Asunción (1537); Potosí (1545); La Paz, Bolivia (1548); and Tucumán (1553).
Ecological conquests
The Columbian Exchange was as significant as the clash of civilizations. Arguably the most significant introduction was diseases brought to the Americas, which devastated indigenous populations in a series of epidemics. The loss of indigenous population had a direct impact on Spaniards as well, since increasingly they saw those populations as a source of their own wealth, disappearing before their eyes.
In the first settlements in the Caribbean, the Spaniards deliberately brought animals and plants that transformed the ecological landscape. Pigs, cattle, sheep, goats, and chickens allowed Spaniards to eat a diet with which they were familiar. But the importation of horses transformed warfare for both the Spaniards and the indigenous. Where the Spaniards had exclusive access to horses in warfare, they had an advantage over indigenous warriors on foot. They were initially a scarce commodity, but horse breeding became an active industry. Horses that escaped Spanish control were captured by indigenous; many indigenous also raided for horses. Mounted indigenous warriors were significant foes for Spaniards. The Chichimeca in northern Mexico, the Comanche in the northern Great Plains and the Mapuche in southern Chile and the pampas of Argentina resisted Spanish conquest. For Spaniards, the fierce Chichimecas barred them for exploiting mining resources in northern Mexico. Spaniards waged a fifty-year war (ca. 1550-1600) to subdue them, but peace was only achieved by Spaniards’ making significant donations of food and other commodities the Chichimeca demanded. "Peace by purchase" ended the conflict. In southern Chile and the pampas, the Araucanians (Mapuche) prevented further Spanish expansion. The image of mounted Araucanians capturing and carrying off white women was the embodiment of Spanish ideas of civilization and barbarism.
Cattle multiplied quickly in areas where little else could turn a profit for Spaniards, including northern Mexico and the Argentine pampas. The introduction of sheep production was an ecological disaster in places where they were raised in great numbers, since they ate vegetation to the ground, preventing the regeneration of plants.
The Spanish brought new crops for cultivation. They preferred wheat cultivation to indigenous sources of carbohydrates: casava, maize (corn), and potatoes, initially importing seeds from Europe and planting in areas where plow agriculture could be utilized, such as the Mexican Bajío. They also imported cane sugar, which was a high-value crop in early Spanish America. Spaniards also imported citrus trees, establishing orchards of oranges, lemons, and limes, and grapefruit. Other imports were figs, apricots, cherries, pears, and peaches among others. The exchange did not go one way. Important indigenous crops that transformed Europe were the potato and maize, which produced abundant crops that led to the expansion of populations in Europe. Chocolate (Nahuatl: chocolate) and vanilla were cultivated in Mexico and exported to Europe. Among the foodstuffs that became staples in European cuisine and could be grown there were tomatoes, squashes, bell peppers, and to a lesser extent in Europe chili peppers; also nuts of various kinds: Walnuts, cashews, pecans, and peanuts.
Civil governance
The empire in the Indies was a newly established dependency of the kingdom of Castile alone, so crown power was not impeded by any existing cortes (i.e. parliament), administrative or ecclesiastical institution, or seigneurial group. The crown sought to establish and maintain control over its overseas possessions through a complex, hierarchical bureaucracy, which in many ways was decentralized. The crown asserted is authority and sovereignty of the territory and vassals it claimed, collected taxes, maintained public order, meted out justice, and established policies for governance of large indigenous populations. Many institutions established in Castile found expression in The Indies from the early colonial period. Spanish universities expanded to train lawyer-bureaucrats (letrados) for administrative positions in Spain and its overseas empire.
The end of the Habsburg dynasty in 1700 saw major administrative reforms in the eighteenth century under the Bourbon monarchy, starting with the first Spanish Bourbon monarch, Philip V (r. 1700-1746) and reaching its apogee under Charles III (r. 1759-1788). The reorganization of administration has been called "a revolution in government." Reforms sought to centralize government control through reorganization of administration, reinvigorate the economies of Spain and the Spanish empire through changes in mercantile and fiscal policies, defend Spanish colonies and territorial claims through the establishment of a standing military, undermine the power of the Catholic church, and rein in the power of the American-born elites.
Early institutions of governance
The crown relied on ecclesiastics as important councilors and royal officials in the governance of their overseas territories. Archbishop Juan Rodríguez de Fonseca, Isabella's confessor, was tasked with reining in Columbus's independence. He strongly influenced the formulation of colonial policy under the Catholic Monarchs, and was instrumental in establishing the Casa de Contratación (House of Trade) (1503), which enabled crown control over trade and immigration. Ovando fitted out Magellan's voyage of circumnavigation, and became the first President of the Council of the Indies in 1524. Ecclesiastics also functioned as administrators overseas in the early Caribbean period, particularly Frey Nicolás de Ovando, who was sent to investigate the administration of Francisco de Bobadilla, the governor appointed to succeed Christopher Columbus. Later ecclesiastics served as interim viceroys, general inspectors (visitadores), and other high posts.
House of Trade
The crown established control over trade and emigration to the Indies with the 1503 establishment the Casa de Contratación (House of Trade) in Seville. Ships and cargoes were registered, and emigrants vetted to prevent migration of anyone not of old Christian heritage, (i.e., with no Jewish or Muslim ancestry), and facilitated the migration of families and women. In addition, the Casa de Contratación took charge of the fiscal organization, and of the organization and judicial control of the trade with the Indies.
Assertion of royal control in the early Caribbean
The politics of asserting royal authority to oppose Columbus resulted in the suppression of his privileges and the creation of territorial governance under royal authority. These governorates, also called as provinces, were the basic of the territorial government of the Indies, and arose as the territories were conquered and colonized. To carry out the expedition (entrada), which entailed exploration, conquest, and initial settlement of the territory, the king, as sovereign, and the appointed leader of an expedition (adelantado) agreed to an itemized contract (capitulación), with the specifics of the conditions of the expedition in a particular territory. The individual leaders of expeditions assumed the expenses of the venture and in return received as reward the grant from the government of the conquered territories; and in addition, they received instructions about treating the indigenous peoples.
After the end of the period of conquests, it was necessary to manage extensive and different territories with a strong bureaucracy. In the face of the impossibility of the Castilian institutions to take care of the New World affairs, other new institutions were created.
As the basic political entity it was the governorate, or province. The governors exercised judicial ordinary functions of first instance, and prerogatives of government legislating by ordinances. To these political functions of the governor, it could be joined the military ones, according to military requirements, with the rank of Captain general. The office of captain general involved to be the supreme military chief of the whole territory and he was responsible for recruiting and providing troops, the fortification of the territory, the supply and the shipbuilding.
Beginning in 1522 in the newly conquered Mexico, government units in the Spanish Empire had a royal treasury controlled by a set of oficiales reales (royal officials). There were also sub-treasuries at important ports and mining districts. The officials of the royal treasury at each level of government typically included two to four positions: a tesorero (treasurer), the senior official who guarded money on hand and made payments; a contador (accountant or comptroller), who recorded income and payments, maintained records, and interpreted royal instructions; a factor, who guarded weapons and supplies belonging to the king, and disposed of tribute collected in the province; and a veedor (overseer), who was responsible for contacts with native inhabitants of the province, and collected the king's share of any war booty. The veedor, or overseer, position quickly disappeared in most jurisdictions, subsumed into the position of factor. Depending on the conditions in a jurisdiction, the position of factor/veedor was often eliminated, as well.
The treasury officials were appointed by the king, and were largely independent of the authority of the viceroy, audiencia president or governor. On the death, unauthorized absence, retirement or removal of a governor, the treasury officials would jointly govern the province until a new governor appointed by the king could take up his duties. Treasury officials were supposed to be paid out of the income from the province, and were normally prohibited from engaging in income-producing activities.
Spanish law and indigenous peoples
The protection of the indigenous populations from enslavement and exploitation by Spanish settlers were established in the Laws of Burgos, 1512–1513. The laws were the first codified set of laws governing the behavior of Spanish settlers in the Americas, particularly with regards to treatment of native Indians in the institution of the encomienda. They forbade the maltreatment of natives, and endorsed the Indian Reductions with attempts of conversion to Catholicism. Upon their failure to effectively protect the indigenous and following the Spanish conquest of the Aztec Empire and the Spanish conquest of Peru, more stringent laws to control conquerors' and settlers' exercise of power, especially their maltreatment of the indigenous populations, were promulgated, known as the New Laws (1542). The crown aimed to prevent the formation of an aristocracy in the Indies not under crown control.
Queen Isabel was the first monarch that laid the first stone for the protection of the indigenous peoples in her testament in which the Catholic monarch prohibited the enslavement of the indigenous peoples of the Americas. Then the first such in 1542; the legal thought behind them was the basis of modern International law.
The Valladolid debate (1550–1551) was the first moral debate in European history to discuss the rights and treatment of a colonized people by colonizers. Held in the Colegio de San Gregorio, in the Spanish city of Valladolid, it was a moral and theological debate about the colonization of the Americas, its justification for the conversion to Catholicism and more specifically about the relations between the European settlers and the natives of the New World. It consisted of a number of opposing views about the way natives were to be integrated into colonial life, their conversion to Christianity and their rights and obligations. According to the French historian Jean Dumont The Valladolid debate was a major turning point in world history “In that moment in Spain appeared the dawn of the human rights”.
The indigenous populations in the Caribbean became the focus of the crown in its roles as sovereigns of the empire and patron of the Catholic Church. Spanish conquerors holding grants of indigenous labor in encomienda ruthlessly exploited them. A number of friars in the early period came to the vigorous defense of the indigenous populations, who were new converts to Christianity. Prominent Dominican friars in Santo Domingo, especially Antonio de Montesinos and Bartolomé de Las Casas denounced the maltreatment and pressed the crown to act to protect the indigenous populations. The crown enacted Laws of Burgos (1513) and the Requerimiento to curb the power of the Spanish conquerors and give indigenous populations the opportunity to peacefully embrace Spanish authority and Christianity. Neither was effective in its purpose. Las Casas was officially appointed Protector of the Indians and spent his life arguing forcefully on their behalf. The New Laws of 1542 were the result, limiting the power of encomenderos, the private holders of grants to indigenous labor previously held in perpetuity. The crown was open to limiting the inheritance of encomiendas in perpetuity as a way to extinguish the coalescence of a group of Spaniards impinging on royal power. In Peru, the attempt of the newly appointed viceroy, Blasco Núñez Vela, to implement the New Laws so soon after the conquest sparked a revolt by conquerors against the viceroy and the viceroy was killed in 1546. In Mexico, Don Martín Cortés, the son and legal heir of conqueror Hernán Cortés, and other heirs of encomiendas led a failed revolt against the crown. Don Martín was sent into exile, while other conspirators were executed.
Indigenous peoples and colonial rule
The conquest of the Aztec and Inca empires ended their sovereignty over their respective territorial expanses, replaced by the Spanish Empire. However, the Spanish Empire could not have ruled these vast territories and dense indigenous populations without utilizing the existing indigenous political and economic structures at the local level. A key to this was the cooperation between most indigenous elites with the new ruling structure. The Spanish recognized indigenous elites as nobles and gave them continuing standing in their communities. Indigenous elites could use the noble titles don and doña, were exempt from the head-tax, and could entail their landholdings into cacicazgos. These elites played an intermediary role between the Spanish rulers and indigenous commoners. Since in central and southern Mexico (Mesoamerica) and the highland Andes indigenous peoples had existing traditions of payment of tribute and required labor service, the Spanish could tap into these systems to extract wealth. There were few Spaniards and huge indigenous populations, so utilizing indigenous intermediaries was a practical solution to the incorporation of the indigenous population into the new regime of rule. By maintaining hierarchical divisions within communities, indigenous noblemen were the direct interface between the indigenous and Spanish spheres and kept their positions so long as they continued to be loyal to the Spanish crown.
The exploitation and demographic catastrophe that indigenous peoples experienced from Spanish rule in the Caribbean also occurred
as Spaniards expanded their control over territories and their indigenous populations. The crown set the indigenous communities legally apart from Spaniards (as well as Blacks), who comprised the República de Españoles, with the creation of the República de Indios. The crown attempted to curb Spaniards' exploitation, banning Spaniards' bequeathing their private grants of indigenous communities' tribute and encomienda labor in 1542 in the New Laws. In Mexico, the crown established the General Indian Court (Juzgado General de Indios), which heard disputes affecting individual indigenous as well as indigenous communities. Lawyers for these cases were funded by a half-real tax, an early example of legal aid for the poor. A similar legal apparatus was set up in Lima.
The Spaniards systematically attempted to transform structures of indigenous governance to those more closely resembling those of Spaniards, so the indigenous city-state became a Spanish town and the indigenous noblemen who ruled became officeholders of the town council (cabildo). Although the structure of the indigenous cabildo looked similar to that of the Spanish institution, its indigenous functionaries continued to follow indigenous practices. In central Mexico, there exist minutes of the sixteenth-century meetings in Nahuatl of the Tlaxcala cabildo. Indigenous noblemen were particularly important in the early period of colonization, since the economy of the encomienda was initially built on the extraction of tribute and labor from the commoners in their communities. As the colonial economy became more diversified and less dependent on these mechanisms for the accumulation of wealth, the indigenous noblemen became less important for the economy. However, noblemen became defenders of the rights to land and water controlled by their communities. In colonial Mexico, there are petitions to the king about a variety of issues important to particular indigenous communities when the noblemen did not get a favorable response from the local friar or priest or local royal officials.
Works by historians in the twentieth and twenty-first centuries have expanded the understanding of the impact of the Spanish conquest and changes during the more than three hundred years of Spanish rule. There are many such works for Mexico, often drawing on native-language documentation in Nahuatl, Only the most valuable low bulk products would be exported.
Agricultural export products
Cacao beans for chocolate emerged as an export product as Europeans developed a taste for sweetened chocolate. Another important export product was cochineal, a color-fast red dye made from dried insects living on cacti. It became the second-most valuable export from Spanish America after silver.
19th century
During the Napoleonic Peninsular War in Europe between France and Spain, assemblies called juntas were established to rule in the name of Ferdinand VII of Spain.
The Libertadores (Spanish and Portuguese for "Liberators") were the principal leaders of the Spanish American wars of independence. They were predominantly criollos (Americas-born people of European ancestry, mostly Spanish or Portuguese), bourgeois and influenced by liberalism and in some cases with military training in the mother country.
In 1809 the first declarations of independence from Spanish rule occurred in the Viceroyalty of Peru. The first two were in the Alto Perú, present-day Bolivia, at Charcas (present day Sucre, May 25), and La Paz (July 16); and the third in present-day Ecuador at Quito (August 10). In 1810 Mexico declared independence, with the Mexican War of Independence following for over a decade. In 1821 Treaty of Córdoba established Mexican independence from Spain and concluded the War. The Plan of Iguala was part of the peace treaty to establish a constitutional foundation for an independent Mexico.
These began a movement for colonial independence that spread to Spain's other colonies in the Americas. The ideas from the French and the American Revolution influenced the efforts. All of the colonies, except Cuba and Puerto Rico, attained independence by the 1820s. The British Empire offered support, wanting to end the Spanish monopoly on trade with its colonies in the Americas.
In 1898, the United States achieved victory in the Spanish–American War with Spain, ending the Spanish colonial era. Spanish possession and rule of its remaining colonies in the Americas ended in that year with its sovereignty transferred to the United States. The United States took occupation of Cuba, the Philippines, and Puerto Rico. Puerto Rico continues to be a possession of the United States, now officially continues as a self-governing unincorporated territory.
In popular culture
In the twentieth century, there have been a number of films depicting the life of Christopher Columbus. One in 1949 stars Frederic March as Columbus. With the 1992 commemoration (and critique) of Columbus, more cinematic and television depictions of the era appeared, including a TV miniseries with Gabriel Byrne as Columbus. Christopher Columbus: The Discovery (1992) has Georges Corroface as Columbus with Marlon Brando as Tomás de Torquemada and Tom Selleck as King Ferdinand and Rachel Ward as Queen Isabela. 1492: The Conquest of Paradise stars Gérard Depardieu as Columbus and Sigorney Weaver as Queen Isabel. A 2010 film, Even the Rain starring Gael García Bernal, is set in modern Cochabamba, Bolivia during the Cochabamba Water War, following a film crew shooting a controversial life of Columbus. A 1995 Bolivian-made film is in some ways similar to Even the Rain is To Hear the Birds Singing, with a modern film crew going to an indigenous settlement to shot a film about the Spanish conquest and end up replicating aspects of the conquest.
For the conquest of Mexico, a 2019 an eight-episode Mexican TV miniseries Hernán depicts the conquest of Mexico. Other notable historical figures in the production are Malinche, Cortés cultural translator, and other conquerors Pedro de Alvarado, Cristóbal de Olid, Bernal Díaz del Castillo. Showing the indigenous sides are Xicotencatl, a leader of the Spaniards' Tlaxcalan allies, and Aztec emperors Moctezuma II and Cuitlahuac. The story of Doña Marina, also known as Malinche, was the subject of a Mexican TV miniseries in 2018. A major production in Mexico was the 1998 film, The Other Conquest, which focuses on a Nahua in the post-conquest era and the evangelization of central Mexico.
The epic journey of Álvar Núñez Cabeza de Vaca has been portrayed in a 1991 feature-length Mexican film, Cabeza de Vaca. The similarly epic and dark journey of Lope de Aguirre was made into a film by Werner Herzog, Aguirre, the Wrath of God (1972), starring Klaus Kinsky.
The Mission was a 1996 film idealizing a Jesuit mission to the Guaraní in the territory disputed between Spain and Portugal. The film starred Robert De Niro, Jeremy Irons, and Liam Neeson and It won an Academy Award.
The life of seventeenth-century Mexican nun, Sor Juana Inés de la Cruz, renowned in her lifetime, has been portrayed in a 1990 Argentine film, I, the Worst of All and in a TV miniseries Juana Inés. Seventeenth-century Mexican trickster, Martín Garatuza was the subject of a late nineteenth-century novel by Mexican politician and writer, Vicente Riva Palacio. In the twentieth century, Garatuza's life was the subject of a 1935 film and a 1986 telenovela, Martín Garatuza.
For the independence era, the 2016 Bolivian-made film made about Mestiza independence leader Juana Azurduy de Padilla is part of the recent recognition of her role in the independence of Argentina and Bolivia.
Dominions
North America, Central America
Viceroyalty of New Spain (1535–1821)
Las Californias
Nuevo Reino de León
Territorio de Nutka
Nuevo Santander
Nueva Vizcaya
Santa Fe de Nuevo México
Nueva Extremadura
Nueva Galicia
Captaincy General of Guatemala
La Luisiana (until 1801).
Spanish Florida (until 1819).
Captaincy General of Cuba (until 1898)
Captaincy General of Puerto Rico (until 1898)
Santo Domingo (last Spanish rule 1861–1865)
Captaincy General of the Philippines (administered by New Spain from 1565 to 1821, then after Mexican independence transferred to and directly administered by Madrid until 1898)
South America
Viceroyalty of Perú (1542–1824)
Captaincy General of Chile (1541–1818)
Viceroyalty of New Granada (1717–1819)
Captaincy General of Venezuela
Viceroyalty of the Río de la Plata (1776–1814)
See also
Atlantic World
Cartography of Latin America
Castas
Spanish Empire
Spanish American Enlightenment
Black legend (Spain)
Hapsburg Spain
List of largest empires
Population history of indigenous peoples of the Americas
Valladolid debate
Viceroyalty of New Spain
Viceroyalty of Peru
Notes
References
Further reading
Altman, Ida and David Wheat, eds. The Spanish Caribbean and the Atlantic World in the Long Sixteenth Century. Lincoln: University of Nebraska Press 2019.
Brading, D. A., The First America: the Spanish Monarchy, Creole Patriots, and the Liberal State, 1492–1867 (Cambridge: Cambridge University Press, 1993).
Burkholder, Mark A. and Lyman L. Johnson. Colonial Latin America, 10th ed. Oxford University Press 2018.
Chipman, Donald E. and Joseph, Harriett Denise. Spanish Texas, 1519–1821. (Austin: University of Texas Press, 1992)
Clark, Larry R. Imperial Spain’s Failure to Colonize Southeast North America: 1513 - 1587 (TimeSpan Press 2017) updated edition to Spanish Attempts to Colonize Southeast North America (McFarland Publishing, 2010)
Elliott, J. H. Empires of the Atlantic World: Britain and Spain in America, 1492–1830 (New Haven: Yale University Press, 2007)
Gibson, Carrie. Empire's Crossroads: A History of the Caribbean from Columbus to the Present Day (New York: Grove Press, 2015)
Gibson, Carrie. El Norte: The Epic and Forgotten Story of Hispanic North America (New York: Atlantic Monthly Press, 2019)
Gibson, Charles. Spain in America. New York: Harper and Row 1966.
Goodwin, Robert. América: The Epic Story of Spanish North America, 1493-1898 (London: Bloomsbury Publishing, 2019)
Hanke, Lewis. The Spanish Struggle for Justice in the Conquest of America (Boston: Little, Brown, and Co., 1965).
Haring, Clarence H. The Spanish Empire in America (London: Oxford University Press, 1947)
Kamen, Henry. Empire: How Spain Became a World Power, 1492–1763 (HarperCollins, 2004)
Lockhart, James and Stuart B. Schwartz. Early Latin America: A History of Colonial Spanish America and Brazil. New York: Cambridge University Press 1983.
Merriman, Roger Bigelow. The Rise of the Spanish Empire in the Old World and in the New (4 Vol. London: Macmillan, 1918) online free
Portuondo, María M. Secret Science: Spanish Cosmography and the New World (Chicago: Chicago UP, 2009).
Restall, Matthew and Fernández-Armesto, Felipe. The Conquistadors: A Very Short Introduction (2012) excerpt and text search
Restall, Matthew and Kris Lane. Latin America in Colonial Times. New York: Cambridge University Press 2011.
Thomas, Hugh. Rivers of Gold: the rise of the Spanish Empire, from Columbus to Magellan (2005)
Weber, David J. The Spanish Frontier in North America (Yale University Press, 1992)
Historiography
Cañeque, Alejandro "The Political and Institutional History of Colonial Spanish America" History Compass (April 2013) 114 pp 280–291,
Herzog, Tamar (2018). "Indigenous Reducciones and Spanish Resettlement: Placing Colonial and European History in Dialogue". Ler Historia (72): 9-30. doi:10.4000/lerhistoria.3146. ISSN 0870-6182.
Weber, David J. "John Francis Bannon and the Historiography of the Spanish Borderlands: Retrospect and Prospect." Journal of the Southwest (1987): 331–363. See John Francis Bannon
Weber, David J. “The Spanish Borderlands, Historiography Redux.” The History Teacher, vol. 39, no. 1, 2005, pp. 43–56. JSTOR, online.
External links
Spanish Exploration and Conquest of North America
Spain in America (Edward Gaylord Bourne, 1904) 'Spain in America'
The Spanish Borderlands (Herbert E. Bolton, 1921) 'The Spanish Borderlands'
Indigenous Puerto Rico DNA evidence upsets established history
“The Political Force of Images,” Vistas: Visual Culture in Spanish America, 1520–1820.
Spanish exploration in the Age of Discovery
16th century in North America
16th century in Central America
16th century in South America
16th century in the Spanish Empire
History of indigenous peoples of the Americas
History of the Colony of Santo Domingo
Former empires
Americas
History of the Americas | false | [
"The history of libraries in Latin America dates back to before the conquest of the continent by the Spanish. Although the indigenous peoples of Mexico, Central America, and South America had developed a written language and, in some cases, created libraries and record depositories of their own, library history of the continent tends to focus on post-conquest institutions. This article will discuss the history of libraries in Latin America.\n\nMexico and Central America\n\nPre-Conquest \nThe Aztecs, Maya, Mixtec, Olmec, Purépecha, and Zapotecs had all developed written language prior to the Spanish Conquest. It is important to note that although numerous cultures in the region had developed writing systems, only the Maya had developed a phonetic language. Although numerous types of writing surfaces were used, such as stone, bone, metal, and ceramics, the most famous surviving artifacts are the codices. As in other regions, codices were made from long strips of material folded into an accordion shape; in this region, bark from the amate tree, agave fibers, and/or animal hides were used as paper, and the codices were protected by wooden covers. The Nahuatl codices (containing works from the Aztecs, Maya, and Mixtecs, among other tribes in the Nahua language family), are the most famous of these. Codices were used to record a variety of types of information, including astronomical knowledge, religious calendars, genealogies of the ruling families, cartography, and tribute collection. Temples and schools were the first \"libraries\" in the region, as this is where the codices were stored and used as educational materials.\n\nMaya Libraries \nDuring the Golden Period of Maya Civilization also called the Classic Period (250 AD-900 AD), the Maya were believed to have large libraries filled with books. By the end of the Maya Classic Period it is assumed that Maya libraries housed thousands of books, written on bark paper or deer skin. These libraries contained codices that covered important subjects such as genealogy, astronomy, rituals, information about plants and animals, medical knowledge, and history.\n\nAztec/Mexica’ Records \nIt was said that the Aztec city of Tenochtitlan, had become such “a splendid city that, according to records, it dazzled the Spaniards.” The Aztecs had an advanced prosperous civilization. Though it is speculated that the Aztecs had libraries, not much is known about where the Aztecs actually kept their records. Through surviving codices and accounts from Spaniards, it is known that the Aztec, kept records on facets of life, including events, genealogical histories, practices, math, land ownership, maps, and civil and criminal laws. In fact, at the time of the conquest, the Aztecs had just begun to codify their [customary] laws into a more formal written form.” The Aztecs collected information in the form of glyphs or picture and images on books (called amoxtli in the Nahuatl language). The Aztec codices, in keeping with other Mesoamerica codices, were folded into 'screenfold' style and bounded so that readers could view many pages at once. The bounded books were made from deer hide and agave plants. Though the Aztecs kept records some of the books that the Aztecs possessed where in fact “biased Aztec version of history”. “The Aztecs had previously tried to wipe out Mayan culture and traditions” in order to be seen as the dominant empire. Though there is not much to share about where exactly the Aztec kept their books, whether it was in one large library or several storage areas, \"hundreds of indigenous books were in use in Mesoamerica\" before the arrival of conquistadors.\n\nPost-Conquest to 1600\nThe Spanish arrival meant that preexisting Mesoamerican books and libraries were destroyed by conquistadores and missionaries. Only 15 codices survived after 1521; these include the Borgia codex, the Vatican B codex, and the Tro-Cortesiano codex. However, codices were slow to die out; Spanish-language, bilingual, and indigenous-language codices continued to be produced, with the list of materials changing to include paper and the subjects focusing on the Christian religion and tribute to colonial administrators. One such example is the Codex Mendoza; it contains ethnography of the Aztecs with a commentary by Spanish priests and was created in 1541 as a gift for Charles V of Spain. The first Mexican printing press was established in 1539 by Juan Pablos The first book published in the Western hemisphere was Doctrina breve, written by Juan de Zumárraga, the first archbishop of Mexico. It was printed in Tenochtitlan, what is called Mexico City today, in 1539. Due to the lack of widespread Spanish literacy, most printed items were stored in the library of the university of Mexico City or in the private libraries of clergy, noblemen, and government officials. In 1646 the oldest public library in Americas, Biblioteca Palafoxiana, was established in the Mexican state of Puebla. Born in 1648, Sor Juana Inés de la Cruz was one of the intellectuals of Mexico during the late 17th century. The Carmelite nun used a 4,000-volume library established by her grandfather to further her education; she corresponded with Sir Isaac Newton and was also renowned for her skill in poetry. Unfortunately, Sor Juana became embroiled in a battle with Church politics in 1690; although she passionately defended the right of women to an education, she was banned from writing and her library in 1691, dying four years later.\n\nSouth America\n\nThe Andes\n\nPre-Conquest \nThe Inca Empire had developed a complex system of knots, called quipu, which was used to record information; whether this could be considered a writing system, and collections of quipu libraries, is debated.\n\nPost-Conquest\nAs with Mexico and Central America, printing was slow to arrive to the Andes. Quito, Ecuador, obtained its first Spanish press in 1760. As with the other colonies in Mexico and Central America, many printed materials found their way to the library of the University of Lima.\n\nBrazil\n\nPost-Conquest \nPrior to the mid-18th century, printing was strictly prohibited in Brazil due to its status as an agricultural colony.\n\nThe Biblioteca Nacional was founded in 1810 by the Portuguese royal family; the collection was left behind in the country following the terms of the treaty that allowed the royal family's return. The library is one of the largest in the Americas, with over 9 million items in the collection. The Biblioteca Nacional organized the first classes in library science in South America and pioneered modernization.\n\nReferences \n\nLibraries\nLibraries in South America\nLatin America",
"A flower war or flowery war (, ) was a ritual war fought intermittently between the Aztec Triple Alliance and its enemies from the \"mid-1450s to the arrival of the Spaniards in 1519.\" Enemies included the city-states of Tlaxcala, Huejotzingo, and Cholula in the Tlaxcala-Pueblan Valley in central Mexico. In these wars, participants would fight according to a set of conventions.\n\nDuring the Spanish conquest of the Aztec Empire, Tlaxcala allied with the Spaniards against the Aztecs, being eager to see their longtime flower war enemies overthrown.\n\nOrigins\nTexcocan nobleman Ixtlilxochitl gives the \"fullest early statement concerning the origin as well as the initial rationale\" of the flower war. From 1450 to 1454, the Aztecs had suffered from crop failure and severe drought; this led to famine and many deaths in the central Mexican highlands. Ixtlilxochitl reports that the flower war began \"as a response\" to the famine: \"the priests . . . of Mexico [Tenochtitlan] said that the gods were angry at the empire, and that to placate them it was necessary to sacrifice many men, and that this had to be done regularly.\" Thus, Tenochtitlan (the Aztec capital), Texcoco, Tlaxcala, Cholula, and Huejotzingo agreed to engage in flower war for the purpose of obtaining human sacrifices for the gods. However, scholars such as Frederic Hicks disagree with using Ixlilxochitl's writings as the origin story of the flower war, due to Ixtlilxochitl not specifically mentioning \"flower war\" and being the only known source to record these events.\n\nPractice \nFlower wars differed from typical wars in a number of important aspects. While engaging in a flower war, competing armies would meet on a \"preset date at a preselected place.” These places became sacred sites and were called cuauhtlalli or yaotlalli. Combatants signaled the start of war by burning a large \"pyre of paper and incense\" between the armies. Actual battle tactics also differed from typical warfare. In typical warfare, the Aztecs used atlatl darts, stones, and other ranged weapons to weaken enemy forces from afar. However, in flower wars, the Aztecs neglected to use ranged weapons and instead used weapons such as the macuahuitl that required skill and close proximity to the enemy. The use of these kinds of weapons allowed the Aztecs to display their individual combat ability, which was an important part of the flower war.\n\nFlower wars involved fewer soldiers than typical Aztec wars did. A larger proportion of the soldiers would be drawn from nobility than during a typical war. These characteristics allowed the Aztecs to engage in flower wars during any time of the year. In contrast, the Aztecs could fight larger wars of conquest only from late autumn to early spring, because Aztec citizens were needed for farming purposes during the rest of the year. Additionally, flower wars differed from typical wars in that there were equal numbers of soldiers on each side of the battle; this was also related to the Aztecs wanting to show off their military prowess.\n\nFlower wars were generally less lethal than typical wars, but a long-running flower war could become increasingly deadly over time. For example, in a long-running flower war between the Aztecs and the Chalcas, there were few battle deaths at the start. After time had passed, captured commoners started to be killed, but captured nobles were frequently released; sacrifice was not always the fate of captives. However, after further time had passed, captive nobles were killed along with the commoners. This increased the cost of the flower war for both the Aztecs and the Chalcas. The Aztecs considered flower war death to be more noble than dying in a typical war; this can be seen in the word for a flower war death, xochimiquiztli, which translates to \"flowery death, blissful death, fortunate death.\" Further, the Aztecs thought that those who died in a flower war would be transported to the heaven where Huitzilopochtli (the supreme god of sun, fire, and war) lived.\n\nPurpose \nThere appear to be a variety of reasons that the Aztecs engaged in flower wars. Historians have thought that flower wars were fought for purposes including combat training and capturing humans for religious sacrifice. Historians note evidence of the sacrifice motive: one of Cortez's captains, Andres de Tapia, once asked Moctezuma II why the stronger Aztec Empire had not yet conquered the nearby state of Tlaxcala outright. The emperor responded by saying that although they could have if they had wanted to, the Aztecs had not done so because war with Tlaxcala was a convenient way of gathering sacrifices and training their own soldiers. However, scholars such as Frederic Hicks question that the main purpose of the flower war was to gain sacrifices. Tlaxcalan historian Muñoz Camargo noted that the Aztecs would often besiege Tlaxcalan towns and cut off trade, which was uncharacteristic of a typical flower war. For this reason, proponents of Hicks' idea believe that the Aztecs did want to conquer the Tlaxcalans, but that they simply could not for some reason.\n\nDespite many scholars' doubts about the sacrifice motive of the flower war, Hicks asserts that Moctezuma II's explanations of the flower war (gaining sacrifices and combat training) were logical, given that the Aztecs did place a heavy importance on both sacrifice and martial ability. Fighting in actual warfare was a mandatory part of training for warriors of the noble class, and it was heavily encouraged for warriors of lower classes as well. Given these factors, Hicks suggests that Moctezuma II's stated reasons may have been genuine and not just an excuse for military failure.\n\nHowever, some scholars have suggested that the flower war served purposes beyond gaining sacrifices and combat training. For example, Hassig states that for the Aztecs, \"flower wars were an efficient means of continuing a conflict that was too costly to conclude immediately.\" As such, a purpose of these wars was to occupy and wear down the enemy's fighting force. By requiring an equal number of soldiers on each side, the Aztecs made the battle seem balanced at first; however, the side with fewer overall troops suffered more because the losses comprised a greater percentage of their total forces. Through this, the Aztecs used the flower wars to weaken their opponents. Furthermore, since fewer soldiers took part in flower war as compared to a traditional war, the practice of flower war allowed the Aztecs to hold a potential threat at bay while focusing the bulk of their forces elsewhere.\n\nAnother purpose of the flower war, according to Hassig, was to show the superiority of Aztec troops. This was another reason that equal numbers of troops were used. If the Aztecs tried to use numerical superiority, their enemy would resort to the kind of defensive tactics that the Aztecs had trouble fighting against. With equal numbers, the enemy would fight the Aztecs on the open field, where individual soldiers had a greater chance of showing off their martial ability. Finally, according to Hassig, “propaganda was perhaps the most significant purpose of flower wars.\" By engaging their opponents in the flower war, the Aztecs were able to continuously showcase their force, which warned other city-states about their power. If the Aztecs made enough of a show of force, it could encourage the allies of the Aztecs' enemies to change their allegiance.\n\nSee also\n Star war\n\nNotes\n\nReferences\n\n \n \n \n\n \n\n \n\nHistory of the Aztecs\nAztec warfare\nHuman sacrifice\nHistory of Puebla"
]
|
[
"Spanish colonization of the Americas",
"Mexico",
"When did the colonization of Mexico begin?",
"The Spanish conquest of Mexico is generally understood to be the Spanish conquest of the Aztec Empire (1519-21) which was the base for later conquests of other regions.",
"What happened during this period?",
"Later conquests were protracted campaigns with less spectacular results than the conquest of the Aztecs.",
"What was so spectacular about the conquest of the Aztecs?",
"The victory over the Aztecs was relatively quick, from 1519 to 1521, and aided by his Tlaxcala and other allies from indigenous city-states or altepetl."
]
| C_481aa00f10ba4a8c8e8950d309ce24a0_1 | What else happened during this time? | 4 | Besides the conquest of the Aztecs, what else happened during 1519-21? | Spanish colonization of the Americas | The Spanish conquest of Mexico is generally understood to be the Spanish conquest of the Aztec Empire (1519-21) which was the base for later conquests of other regions. Later conquests were protracted campaigns with less spectacular results than the conquest of the Aztecs. The Spanish conquest of Yucatan, the Spanish conquest of Guatemala, the war of Mexico's west, and the Chichimeca War in northern Mexico expanded Spanish control over territory and indigenous populations. But not until the Spanish conquest of Peru was the conquest of the Aztecs matched in scope by the victory over the Inca empire in 1532. The Spanish conquest of the Aztec empire was led by Hernan Cortes. The victory over the Aztecs was relatively quick, from 1519 to 1521, and aided by his Tlaxcala and other allies from indigenous city-states or altepetl. These polities allied against the Aztec empire, to which they paid tribute following conquest or threat of conquest, leaving the city-states' political hierarchy and social structure in place. The Spanish conquest of Yucatan was a much longer campaign, from 1551 to 1697, against the Maya peoples in the Yucatan Peninsula of present-day Mexico and northern Central America. Hernan Cortes' landing ashore at present day Veracruz and founding the Spanish city there on April 22, 1519 marked the beginning of 300 years of Spanish hegemony over the region. The assertion of royal control over the Kingdom of New Spain and the initial Spanish conquerors took over a decade, with importance of the region meriting the creation of the Viceroyalty of New Spain. Established by Charles V in 1535, the first viceroy was Don Antonio de Mendoza. Spain colonized and exerted control of Alta California through the Spanish missions in California until the Mexican secularization act of 1833. CANNOTANSWER | These polities allied against the Aztec empire, to which they paid tribute following conquest or threat of conquest, leaving the city-states' political hierarchy and social structure in place. | The Spanish colonization of the Americas began under the Crown of Castile and was spearheaded by the Spanish conquistadors. The Americas were invaded and incorporated into the Spanish Empire, with the exception of Brazil, British America, and some small regions of South America and the Caribbean. The crown created civil and religious structures to administer the vast territory. The main motivations for colonial expansion were profit through resource extraction and the spread of Catholicism through indigenous conversions.
Beginning with the 1492 arrival of Christopher Columbus in the Caribbean and gaining control over more territory for over three centuries, the Spanish Empire would expand across the Caribbean Islands, half of South America, most of Central America and much of North America. It is estimated that during the colonial period (1492–1832), a total of 1.86 million Spaniards settled in the Americas, and a further 3.5 million immigrated during the post-colonial era (1850–1950); the estimate is 250,000 in the 16th century and most during the 18th century, as immigration was encouraged by the new Bourbon dynasty.
By contrast, the indigenous population plummeted by an estimated 80% in the first century and a half following Columbus's voyages, primarily through the spread of disease, forced labor and slavery for resource extraction, and missionization. This has been argued to be the first large-scale act of genocide in the modern era.
In the early 19th century, the Spanish American wars of independence resulted in the secession and subsequent division of most Spanish territories in the Americas, except for Cuba and Puerto Rico, which were lost to the United States in 1898, following the Spanish–American War. The loss of these territories ended Spanish rule in the Americas.
Imperial expansion
The expansion of Spain’s territory took place under the Catholic Monarchs Isabella of Castile, Queen of Castile and her husband King Ferdinand, King of Aragon, whose marriage marked the beginning of Spanish power beyond the Iberian peninsula. They pursued a policy of joint rule of their kingdoms and created the initial stage of a single Spanish monarchy, completed under the eighteenth-century Bourbon monarchs. The first expansion of territory was the conquest of the Muslim Emirate of Granada on January 1, 1492, the culmination of the Christian Reconquest of the Iberian peninsula, held by the Muslims since 711. On March 31, 1492, the Catholic Monarch ordered the expulsion of the Jews in Spain who refused to convert to Christianity. On October 12, 1492, Genoese mariner Christopher Columbus made landfall in the Western Hemisphere.
Even though Castile and Aragon were ruled jointly by their respective monarchs, they remained separate kingdoms so that when the Catholic Monarchs gave official approval for the plans for Columbus’s voyage to reach "the Indies" by sailing West, the funding came from the queen of Castile. The profits from Spanish expedition flowed to Castile. The Kingdom of Portugal authorized a series of voyages down the coast of Africa and when they rounded the southern tip, were able to sail to India and further east. Spain sought similar wealth, and authorized Columbus’s voyage sailing west. Once the Spanish settlement in the Caribbean occurred, Spain and Portugal formalized a division of the world between them in the 1494 Treaty of Tordesillas. The deeply pious Isabella saw the expansion of Spain's sovereignty inextricably paired with the evangelization of non-Christian peoples, the so-called “spiritual conquest” with the military conquest. Pope Alexander VI in a 4 May 1493 papal decree, Inter caetera, divided rights to lands in the Western Hemisphere between Spain and Portugal on the proviso that they spread Christianity. These formal arrangements between Spain and Portugal and the pope were ignored by other European powers.
General principles of expansion
The Spanish expansion has sometimes been succinctly summed up as "gold, glory, God." The search for material wealth, the enhancement of the conquerors' and the crown's position, and the expansion of Christianity. In the extension of Spanish sovereignty to its overseas territories, authority for expeditions (entradas) of discovery, conquest, and settlement resided in the monarchy. Expeditions required authorization by the crown, which laid out the terms of such expedition. Virtually all expeditions after the Columbus voyages, which were funded by the crown of Castile, were done at the expense of the leader of the expedition and its participants. Although often the participants, conquistadors, are now termed “soldiers”, they were not paid soldiers in ranks of an army, but rather soldiers of fortune, who joined an expedition with the expectation of profiting from it. The leader of an expedition, the adelantado was a senior with material wealth and standing who could persuade the crown to issue him a license for an expedition. He also had to attract participants to the expedition who staked their own lives and meager fortunes on the expectation of the expedition’s success. The leader of the expedition pledged the larger share of capital to the enterprise, which in many ways functioned as a commercial firm. Upon the success of the expedition, the spoils of war were divvied up in proportion to the amount a participant initially staked, with the leader receiving the largest share. Participants supplied their own armor and weapons, and those who had a horse received two shares, one for himself, the second recognizing the value of the horse as a machine of war. For the conquest era, two names of Spaniards are generally known because they led the conquests of high indigenous civilizations, Hernán Cortés, leader of the expedition that conquered the Aztecs of Central Mexico, and Francisco Pizarro, leader of the conquest of the Inca in Peru.
Caribbean islands and the Spanish Main
Until his dying day, Columbus was convinced that he had reached Asia, the Indies. From that misperception the Spanish called the indigenous peoples of the Americas, "Indians" (indios), lumping a multiplicity of civilizations, groups, and individuals into a single category. The Spanish royal government called its overseas possessions "The Indies" until its empire dissolved in the nineteenth century. Patterns set in this early period of exploration and colonization were to endure as Spain expanded further, even as the region became less important in the overseas empire after the conquests of Mexico and Peru.
In the Caribbean, there was no large-scale Spanish conquest of indigenous peoples, but there was indigenous resistance. Columbus made four voyages to the West Indies as the monarchs granted Columbus vast powers of governance over this unknown part of the world. The crown of Castile financed more of his trans-Atlantic journeys, a pattern they would not repeat elsewhere. Effective Spanish settlement began in 1493, when Columbus brought livestock, seeds, agricultural equipment. The first settlement of La Navidad, a crude fort built on his first voyage in 1492, had been abandoned by the time he returned in 1493. He then founded the settlement of La Isabela on the island they named Hispaniola (now divided into Haiti and the Dominican Republic).
Spanish explorations of other islands in the Caribbean and what turned out to be the mainland of South and Central America occupied them for over two decades. Columbus had promised that the region he now controlled held a huge treasure in the form of gold and spices. Spanish settlers found relatively dense populations of indigenous peoples, who were agriculturalists living in villages ruled by leaders not part of a larger integrated political system. For the Spanish, these populations were there for their exploitation, to supply their own settlements with foodstuffs, but more importantly for the Spanish, to extract mineral wealth or produce another valuable commodity for Spanish enrichment. The labor of dense populations of Tainos were allocated to Spanish settlers in an institution known as the encomienda, where particular indigenous settlements were awarded to individual Spaniards. There was surface gold found in early islands, and holders of encomiendas put the indigenous to work panning for it. For all practical purposes, this was slavery. Queen Isabel put an end to formal slavery, declaring the indigenous to be vassals of the crown, but Spaniards' exploitation continued. The Taino population on Hispaniola went from hundreds of thousands or millions –- the estimates by scholars vary widely—but in the mid-1490s, they were practically wiped out. Disease and overwork, disruption of family life and the agricultural cycle (which caused severe food shortages to Spaniards dependent on them) rapidly decimated the indigenous population. From the Spanish viewpoint, their source of labor and viability of their own settlements was at risk. After the collapse of the Taino population of Hispaniola, Spaniards took to slave raiding and settlement on nearby islands, including Cuba, Puerto Rico, and Jamaica, replicating the demographic catastrophe there as well.
Dominican friar Antonio de Montesinos denounced Spanish cruelty and abuse in a sermon in 1511, which comes down to us in the writings of Dominican friar Bartolomé de las Casas. In 1542 Las Casas wrote a damning account of this genocide, A Short Account of the Destruction of the Indies. It was translated quickly to English and became the basis for the anti-Spanish writings, collectively known as the Black Legend.
The first mainland explorations by Spaniards were followed by a phase of inland expeditions and conquest. In 1500 the city of Nueva Cádiz was founded on the island of Cubagua, Venezuela, followed by the founding of Santa Cruz by Alonso de Ojeda in present-day Guajira peninsula. Cumaná in Venezuela was the first permanent settlement founded by Europeans in the mainland Americas, in 1501 by Franciscan friars, but due to successful attacks by the indigenous people, it had to be refounded several times, until Diego Hernández de Serpa's foundation in 1569. The Spanish founded San Sebastián de Uraba in 1509 but abandoned it within the year. There is indirect evidence that the first permanent Spanish mainland settlement established in the Americas was Santa María la Antigua del Darién.
Spaniards spent over 25 years in the Caribbean where their initial high hopes of dazzling wealth gave way to continuing exploitation of disappearing indigenous populations, exhaustion of local gold mines, initiation of cane sugar cultivation as an export product, and importation of African slaves as a labor force. Spaniards continued to expand their presence in the circum-Caribbean region with expeditions. One was by Francisco Hernández de Córdoba in 1517, another by Juan de Grijalva in 1518, which brought promising news of possibilities there. Even by the mid-1510s, the western Caribbean was largely unexplored by Spaniards. A well-connected settler in Cuba, Hernán Cortés received authorization in 1519 by the governor of Cuba to form an expedition of exploration-only to this far western region. That expedition was to make world history.
Mexico
It wasn’t until Spanish expansion into modern-day Mexico that Spanish explorers were able to find wealth on the scale that they had been hoping for. Unlike Spanish expansion in the Caribbean, which involved limited armed combat and sometimes the participation of indigenous allies, the conquest of central Mexico was protracted and necessitated indigenous allies who chose to participate for their own purposes. The conquest of the Aztec empire involved the combined effort of armies from many indigenous allies, spearheaded by a small Spanish force of conquistadors. The Aztec empire was a fragile confederation of city-states. Spaniards persuaded the leaders of subordinate city-states and one city-state never conquered by the Aztecs, Tlaxcala, to join them in huge numbers, with thousands, perhaps tens of thousands of indigenous warriors. The conquest of central Mexico is one of the best-documented events in world history, with accounts by the expedition leader Hernán Cortés, many other Spanish conquistadors, including Bernal Díaz del Castillo, indigenous allies from the city-states altepetl of Tlaxcala, Texcoco, and Huexotzinco, but also importantly, the defeated of Tenochtitlan, the Aztec capital. What can be called the visions of the vanquished, indigenous accounts written in the sixteenth century, are a rare case of history being written by those other than the victors.
The capture of the Aztec emperor Moctezuma II by Cortés was not a brilliant stroke of innovation, but came from the playbook that the Spanish developed during their period in the Caribbean. The composition of the expedition was the standard pattern, with a senior leader, and participating men investing in the enterprise with the full expectation of rewards if they did not lose their lives. Cortés’s seeking indigenous allies was a typical tactic of warfare: divide and conquer. But the indigenous allies had much to gain by throwing off Aztec rule. For the Spaniards’ Tlaxcalan allies, their crucial support gained them enduring political legacy into the modern era, the Mexican state of Tlaxcala.
The conquest of central Mexico sparked further Spanish conquests, following the pattern of conquered and consolidated regions being the launching point for further expeditions. These were often led by secondary leaders, such as Pedro de Alvarado. Later conquests in Mexico were protracted campaigns with less spectacular results than the conquest of the Aztecs. The Spanish conquest of Yucatán, the Spanish conquest of Guatemala, the conquest of the Tarascans/Purépecha of Michoacan, the war of Mexico's west, and the Chichimeca War in northern Mexico expanded Spanish control over territory and indigenous populations. But not until the Spanish conquest of Peru was the conquest of the Aztecs matched in scope by the victory over the Inca empire in 1532.
Peru
In 1532 at the Battle of Cajamarca a group of Spaniards under Francisco Pizarro and their indigenous Andean Indian auxiliaries native allies ambushed and captured the Emperor Atahualpa of the Inca Empire. It was the first step in a long campaign that took decades of fighting to subdue the mightiest empire in the Americas. In the following years, Spain extended its rule over the Empire of the Inca civilization.
The Spanish took advantage of a recent civil war between the factions of the two brothers Emperor Atahualpa and Huáscar, and the enmity of indigenous nations the Incas had subjugated, such as the Huancas, Chachapoyas, and Cañaris. In the following years the conquistadors and indigenous allies extended control over Greater Andes Region. The Viceroyalty of Perú was established in 1542. The last Inca stronghold was conquered by the Spanish in 1572.
Peru was the last territory in the continent under Spanish rule, which ended on 9 December 1824 at the Battle of Ayacucho (Spanish rule continued until 1898 in Cuba and Puerto Rico).
Chile
Chile was explored by Spaniards based in Peru, where Spaniards found the fertile soil and mild climate attractive. The Mapuche people of Chile, whom the Spaniards called Araucanians, resisted fiercely. The Spanish did establish the settlement of Chile in 1541, founded by Pedro de Valdivia.
Southward colonization by the Spanish in Chile halted after the conquest of Chiloé Archipelago in 1567. This is thought to have been the result of an increasingly harsh climate to the south, and the lack of a populous and sedentary indigenous population to settle among for the Spanish in the fjords and channels of Patagonia. South of the Bío-Bío River the Mapuche successfully reversed colonization with the Destruction of the Seven Cities in 1599–1604. This Mapuche victory laid the foundation for the establishment of a Spanish-Mapuche frontier called La Frontera. Within this frontier the city of Concepción assumed the role of "military capital" of Spanish-ruled Chile. With a hostile indigenous population, no obvious mineral or other exploitable resources, and little strategic value, Chile was a fringe area of colonial Spanish America, hemmed in geographically by the Andes to the east, Pacific Ocean to the west, and indigenous to the south.
New Granada
Between 1537 and 1543, six Spanish expeditions entered highland Colombia, conquered the Muisca Confederation, and set up the New Kingdom of Granada (). Gonzalo Jiménez de Quesada was the leading conquistador with his brother Hernán second in command. It was governed by the president of the Audiencia of Bogotá, and comprised an area corresponding mainly to modern-day Colombia and parts of Venezuela. The conquistadors originally organized it as a captaincy general within the Viceroyalty of Peru. The crown established the audiencia in 1549. Ultimately, the kingdom became part of the Viceroyalty of New Granada first in 1717 and permanently in 1739. After several attempts to set up independent states in the 1810s, the kingdom and the viceroyalty ceased to exist altogether in 1819 with the establishment of Gran Colombia.
Venezuela
Venezuela was first visited by Europeans during the 1490s, when Columbus was in control of the region, and the region as a source for indigenous slaves for Spaniards in Cuba and Hispaniola, since the Spanish destruction of the local indigenous population. There were few permanent settlements, but Spaniards settled the coastal islands of Cubagua and Margarita to exploit the pearl beds. Western Venezuela’s history took an atypical direction in 1528, when Spain’s first Hapsburg monarch, Charles I granted rights to colonize to the German banking family of the Welsers. Charles sought to be elected Holy Roman Emperor and was willing to pay whatever it took to achieve that. He became deeply indebted to the German Welser and Fugger banking families. To satisfy his debts to the Welsers, he granted them the right to colonize and exploit western Venezuela, with the proviso that they found two towns with 300 settlers each and construct fortifications. They established the colony of Klein-Venedig in 1528. They founded the towns of Coro and Maracaibo. They were aggressive in making their investment pay, alienating the indigenous populations and Spaniards alike. Charles revoked the grant in 1545, ending the episode of German colonization.
Río de la Plata and Paraguay
Argentina was not conquered or later exploited in the grand fashion of central Mexico or Peru, since the indigenous population was sparse and there were no precious metals or other valuable resources. Although today Buenos Aires at the mouth of Río de la Plata is a major metropolis, it held no interest for Spaniards and the 1535-36 settlement failed and was abandoned by 1541. Pedro de Mendoza and Domingo Martínez de Irala, who led the original expedition, went inland and founded Asunción, Paraguay, which became the Spaniards' base. A second (and permanent) settlement was established in 1580 by Juan de Garay, who arrived by sailing down the Paraná River from Asunción, now the capital of Paraguay. Exploration from Peru resulted in the foundation of Tucumán in what is now northwest Argentina.
End of era of exploration
The spectacular conquests of central Mexico (1519–21) and Peru (1532) sparked Spaniards' hopes of finding yet another high civilization. Expeditions continued into the 1540s and regional capitals founded by the 1550s. Among the most notable expeditions are Hernando de Soto into southeast North America, leaving from Cuba (1539–42); Francisco Vázquez de Coronado to northern Mexico (1540–42), and Gonzalo Pizarro to Amazonia, leaving from Quito, Ecuador (1541–42). In 1561, Pedro de Ursúa led an expedition of some 370 Spanish (including women and children) into Amazonia to search for El Dorado. Far more famous now is Lope de Aguirre, who led a mutiny against Ursúa, who was murdered. Aguirre subsequently wrote a letter to Philip II bitterly complaining about the treatment of conquerors like himself in the wake of the assertion of crown control over Peru. An earlier expedition that left in 1527 was led by Pánfilo Naváez, who was killed early on. Survivors continued to travel among indigenous groups in the North American south and southwest until 1536. Álvar Núñez Cabeza de Vaca was one of four survivors of that expedition, writing an account of it. The crown later sent him to Asunción, Paraguay to be adelantado there. Expeditions continued to explore territories in hopes of finding another Aztec or Inca empire, with no further success. Francisco de Ibarra led an expedition from Zacatecas in northern New Spain, and founded Durango. Juan de Oñate, is sometimes referred to as "the Last Conquistador", expanded Spanish sovereignty over what is now New Mexico. Like previous conquistadors, Oñate engaged in widespread abuses of the Indian population. Shortly after founding Santa Fe, Oñate was recalled to Mexico City by the Spanish authorities. He was subsequently tried and convicted of cruelty to both natives and colonists and banished from New Mexico for life.
Factors affecting Spanish settlement
Two major factors affected the density of Spanish settlement in the long term. One was the presence or absence of dense, hierarchically organized indigenous populations that could be made to work. The other was the presence or absence of an exploitable resource for the enrichment of settlers. Best was gold, but silver was found in abundance.
The two main areas of Spanish settlement after 1550 were Mexico and Peru, the sites of the Aztec and Inca indigenous civilizations. Equally important, rich deposits of the valuable metal silver. Spanish settlement in Mexico “largely replicated the organization of the area in preconquest times” while in Peru, the center of the Incas was too far south, too remote, and at too high an altitude for the Spanish capital. The capital Lima was built near the Pacific coast. The capitals of Mexico and Peru, Mexico City and Lima came to have large concentrations of Spanish settlers and became the hubs of royal and ecclesiastical administration, large commercial enterprises and skilled artisans, and centers of culture. Although Spaniards had hoped to find vast quantities of gold, the discovery of large quantities of silver became the motor of the Spanish colonial economy, a major source of income for the Spanish crown, and transformed the international economy. Mining regions in both Mexico were remote, outside the zone of indigenous settlement in central and southern Mexico Mesoamerica, but mines in Zacatecas (founded 1548) and Guanajuato (founded 1548) were key hubs in the colonial economy. In Peru, silver was found in a single silver mountain, the Cerro Rico de Potosí, still producing silver in the 21st century. Potosí (founded 1545) was in the zone of dense indigenous settlement, so that labor could be mobilized on traditional patterns to extract the ore. An important element for productive mining was mercury for processing high-grade ore. Peru had a source in Huancavelica (founded 1572), while Mexico had to rely on mercury imported from Spain.
Establishment of early settlements
The Spanish founded towns in the Caribbean, on Hispaniola and Cuba, on a pattern that became spatially similar throughout Spanish America. A central plaza had the most important buildings on the four sides, especially buildings for royal officials and the main church. A checkerboard pattern radiated outward. Residences of the officials and elites were closest to the main square. Once on the mainland, where there were dense indigenous populations in urban settlements, the Spanish could build a Spanish settlement on the same site, dating its foundation to when that occurred. Often they erected a church on the site of an indigenous temple. They replicated the existing indigenous network of settlements, but added a port city. The Spanish network needed a port city so that inland settlements could be connected by sea to Spain. In Mexico, the Hernán Cortés and the men of his expedition founded of the port town of Veracruz in 1519 and constituted themselves as the town councilors, as a means to throw off the authority of the governor of Cuba, who did not authorize an expedition of conquest. start of the conquest of central Mexico; once the Aztec empire was toppled, they founded Mexico City on the ruins of the Aztec capital. Their central official and ceremonial area was built on top of Aztec palaces and temples. In Peru, Spaniards founded the city of Lima as their capital and its nearby port of Callao, rather than the high-altitude site of Cuzco, the center of Inca rule. Spaniards established a network of settlements in areas they conquered and controlled. Important ones include Santiago de Guatemala (1524); Puebla (1531); Querétaro (ca. 1531); Guadalajara (1531–42); Valladolid (now Morelia), (1529–41); Antequera (now Oaxaca(1525–29); Campeche (1541); and Mérida. In southern Central and South America, settlements were founded in Panama (1519); León, Nicaragua (1524); Cartagena (1532); Piura (1532); Quito (1534); Trujillo (1535); Cali (1537) Bogotá (1538); Quito (1534); Cuzco 1534); Lima (1535); Tunja, (1539); Huamanga 1539; Arequipa (1540); Santiago de Chile (1544) and Concepción, Chile (1550). Settled from the south were Buenos Aires (1536, 1580); Asunción (1537); Potosí (1545); La Paz, Bolivia (1548); and Tucumán (1553).
Ecological conquests
The Columbian Exchange was as significant as the clash of civilizations. Arguably the most significant introduction was diseases brought to the Americas, which devastated indigenous populations in a series of epidemics. The loss of indigenous population had a direct impact on Spaniards as well, since increasingly they saw those populations as a source of their own wealth, disappearing before their eyes.
In the first settlements in the Caribbean, the Spaniards deliberately brought animals and plants that transformed the ecological landscape. Pigs, cattle, sheep, goats, and chickens allowed Spaniards to eat a diet with which they were familiar. But the importation of horses transformed warfare for both the Spaniards and the indigenous. Where the Spaniards had exclusive access to horses in warfare, they had an advantage over indigenous warriors on foot. They were initially a scarce commodity, but horse breeding became an active industry. Horses that escaped Spanish control were captured by indigenous; many indigenous also raided for horses. Mounted indigenous warriors were significant foes for Spaniards. The Chichimeca in northern Mexico, the Comanche in the northern Great Plains and the Mapuche in southern Chile and the pampas of Argentina resisted Spanish conquest. For Spaniards, the fierce Chichimecas barred them for exploiting mining resources in northern Mexico. Spaniards waged a fifty-year war (ca. 1550-1600) to subdue them, but peace was only achieved by Spaniards’ making significant donations of food and other commodities the Chichimeca demanded. "Peace by purchase" ended the conflict. In southern Chile and the pampas, the Araucanians (Mapuche) prevented further Spanish expansion. The image of mounted Araucanians capturing and carrying off white women was the embodiment of Spanish ideas of civilization and barbarism.
Cattle multiplied quickly in areas where little else could turn a profit for Spaniards, including northern Mexico and the Argentine pampas. The introduction of sheep production was an ecological disaster in places where they were raised in great numbers, since they ate vegetation to the ground, preventing the regeneration of plants.
The Spanish brought new crops for cultivation. They preferred wheat cultivation to indigenous sources of carbohydrates: casava, maize (corn), and potatoes, initially importing seeds from Europe and planting in areas where plow agriculture could be utilized, such as the Mexican Bajío. They also imported cane sugar, which was a high-value crop in early Spanish America. Spaniards also imported citrus trees, establishing orchards of oranges, lemons, and limes, and grapefruit. Other imports were figs, apricots, cherries, pears, and peaches among others. The exchange did not go one way. Important indigenous crops that transformed Europe were the potato and maize, which produced abundant crops that led to the expansion of populations in Europe. Chocolate (Nahuatl: chocolate) and vanilla were cultivated in Mexico and exported to Europe. Among the foodstuffs that became staples in European cuisine and could be grown there were tomatoes, squashes, bell peppers, and to a lesser extent in Europe chili peppers; also nuts of various kinds: Walnuts, cashews, pecans, and peanuts.
Civil governance
The empire in the Indies was a newly established dependency of the kingdom of Castile alone, so crown power was not impeded by any existing cortes (i.e. parliament), administrative or ecclesiastical institution, or seigneurial group. The crown sought to establish and maintain control over its overseas possessions through a complex, hierarchical bureaucracy, which in many ways was decentralized. The crown asserted is authority and sovereignty of the territory and vassals it claimed, collected taxes, maintained public order, meted out justice, and established policies for governance of large indigenous populations. Many institutions established in Castile found expression in The Indies from the early colonial period. Spanish universities expanded to train lawyer-bureaucrats (letrados) for administrative positions in Spain and its overseas empire.
The end of the Habsburg dynasty in 1700 saw major administrative reforms in the eighteenth century under the Bourbon monarchy, starting with the first Spanish Bourbon monarch, Philip V (r. 1700-1746) and reaching its apogee under Charles III (r. 1759-1788). The reorganization of administration has been called "a revolution in government." Reforms sought to centralize government control through reorganization of administration, reinvigorate the economies of Spain and the Spanish empire through changes in mercantile and fiscal policies, defend Spanish colonies and territorial claims through the establishment of a standing military, undermine the power of the Catholic church, and rein in the power of the American-born elites.
Early institutions of governance
The crown relied on ecclesiastics as important councilors and royal officials in the governance of their overseas territories. Archbishop Juan Rodríguez de Fonseca, Isabella's confessor, was tasked with reining in Columbus's independence. He strongly influenced the formulation of colonial policy under the Catholic Monarchs, and was instrumental in establishing the Casa de Contratación (House of Trade) (1503), which enabled crown control over trade and immigration. Ovando fitted out Magellan's voyage of circumnavigation, and became the first President of the Council of the Indies in 1524. Ecclesiastics also functioned as administrators overseas in the early Caribbean period, particularly Frey Nicolás de Ovando, who was sent to investigate the administration of Francisco de Bobadilla, the governor appointed to succeed Christopher Columbus. Later ecclesiastics served as interim viceroys, general inspectors (visitadores), and other high posts.
House of Trade
The crown established control over trade and emigration to the Indies with the 1503 establishment the Casa de Contratación (House of Trade) in Seville. Ships and cargoes were registered, and emigrants vetted to prevent migration of anyone not of old Christian heritage, (i.e., with no Jewish or Muslim ancestry), and facilitated the migration of families and women. In addition, the Casa de Contratación took charge of the fiscal organization, and of the organization and judicial control of the trade with the Indies.
Assertion of royal control in the early Caribbean
The politics of asserting royal authority to oppose Columbus resulted in the suppression of his privileges and the creation of territorial governance under royal authority. These governorates, also called as provinces, were the basic of the territorial government of the Indies, and arose as the territories were conquered and colonized. To carry out the expedition (entrada), which entailed exploration, conquest, and initial settlement of the territory, the king, as sovereign, and the appointed leader of an expedition (adelantado) agreed to an itemized contract (capitulación), with the specifics of the conditions of the expedition in a particular territory. The individual leaders of expeditions assumed the expenses of the venture and in return received as reward the grant from the government of the conquered territories; and in addition, they received instructions about treating the indigenous peoples.
After the end of the period of conquests, it was necessary to manage extensive and different territories with a strong bureaucracy. In the face of the impossibility of the Castilian institutions to take care of the New World affairs, other new institutions were created.
As the basic political entity it was the governorate, or province. The governors exercised judicial ordinary functions of first instance, and prerogatives of government legislating by ordinances. To these political functions of the governor, it could be joined the military ones, according to military requirements, with the rank of Captain general. The office of captain general involved to be the supreme military chief of the whole territory and he was responsible for recruiting and providing troops, the fortification of the territory, the supply and the shipbuilding.
Beginning in 1522 in the newly conquered Mexico, government units in the Spanish Empire had a royal treasury controlled by a set of oficiales reales (royal officials). There were also sub-treasuries at important ports and mining districts. The officials of the royal treasury at each level of government typically included two to four positions: a tesorero (treasurer), the senior official who guarded money on hand and made payments; a contador (accountant or comptroller), who recorded income and payments, maintained records, and interpreted royal instructions; a factor, who guarded weapons and supplies belonging to the king, and disposed of tribute collected in the province; and a veedor (overseer), who was responsible for contacts with native inhabitants of the province, and collected the king's share of any war booty. The veedor, or overseer, position quickly disappeared in most jurisdictions, subsumed into the position of factor. Depending on the conditions in a jurisdiction, the position of factor/veedor was often eliminated, as well.
The treasury officials were appointed by the king, and were largely independent of the authority of the viceroy, audiencia president or governor. On the death, unauthorized absence, retirement or removal of a governor, the treasury officials would jointly govern the province until a new governor appointed by the king could take up his duties. Treasury officials were supposed to be paid out of the income from the province, and were normally prohibited from engaging in income-producing activities.
Spanish law and indigenous peoples
The protection of the indigenous populations from enslavement and exploitation by Spanish settlers were established in the Laws of Burgos, 1512–1513. The laws were the first codified set of laws governing the behavior of Spanish settlers in the Americas, particularly with regards to treatment of native Indians in the institution of the encomienda. They forbade the maltreatment of natives, and endorsed the Indian Reductions with attempts of conversion to Catholicism. Upon their failure to effectively protect the indigenous and following the Spanish conquest of the Aztec Empire and the Spanish conquest of Peru, more stringent laws to control conquerors' and settlers' exercise of power, especially their maltreatment of the indigenous populations, were promulgated, known as the New Laws (1542). The crown aimed to prevent the formation of an aristocracy in the Indies not under crown control.
Queen Isabel was the first monarch that laid the first stone for the protection of the indigenous peoples in her testament in which the Catholic monarch prohibited the enslavement of the indigenous peoples of the Americas. Then the first such in 1542; the legal thought behind them was the basis of modern International law.
The Valladolid debate (1550–1551) was the first moral debate in European history to discuss the rights and treatment of a colonized people by colonizers. Held in the Colegio de San Gregorio, in the Spanish city of Valladolid, it was a moral and theological debate about the colonization of the Americas, its justification for the conversion to Catholicism and more specifically about the relations between the European settlers and the natives of the New World. It consisted of a number of opposing views about the way natives were to be integrated into colonial life, their conversion to Christianity and their rights and obligations. According to the French historian Jean Dumont The Valladolid debate was a major turning point in world history “In that moment in Spain appeared the dawn of the human rights”.
The indigenous populations in the Caribbean became the focus of the crown in its roles as sovereigns of the empire and patron of the Catholic Church. Spanish conquerors holding grants of indigenous labor in encomienda ruthlessly exploited them. A number of friars in the early period came to the vigorous defense of the indigenous populations, who were new converts to Christianity. Prominent Dominican friars in Santo Domingo, especially Antonio de Montesinos and Bartolomé de Las Casas denounced the maltreatment and pressed the crown to act to protect the indigenous populations. The crown enacted Laws of Burgos (1513) and the Requerimiento to curb the power of the Spanish conquerors and give indigenous populations the opportunity to peacefully embrace Spanish authority and Christianity. Neither was effective in its purpose. Las Casas was officially appointed Protector of the Indians and spent his life arguing forcefully on their behalf. The New Laws of 1542 were the result, limiting the power of encomenderos, the private holders of grants to indigenous labor previously held in perpetuity. The crown was open to limiting the inheritance of encomiendas in perpetuity as a way to extinguish the coalescence of a group of Spaniards impinging on royal power. In Peru, the attempt of the newly appointed viceroy, Blasco Núñez Vela, to implement the New Laws so soon after the conquest sparked a revolt by conquerors against the viceroy and the viceroy was killed in 1546. In Mexico, Don Martín Cortés, the son and legal heir of conqueror Hernán Cortés, and other heirs of encomiendas led a failed revolt against the crown. Don Martín was sent into exile, while other conspirators were executed.
Indigenous peoples and colonial rule
The conquest of the Aztec and Inca empires ended their sovereignty over their respective territorial expanses, replaced by the Spanish Empire. However, the Spanish Empire could not have ruled these vast territories and dense indigenous populations without utilizing the existing indigenous political and economic structures at the local level. A key to this was the cooperation between most indigenous elites with the new ruling structure. The Spanish recognized indigenous elites as nobles and gave them continuing standing in their communities. Indigenous elites could use the noble titles don and doña, were exempt from the head-tax, and could entail their landholdings into cacicazgos. These elites played an intermediary role between the Spanish rulers and indigenous commoners. Since in central and southern Mexico (Mesoamerica) and the highland Andes indigenous peoples had existing traditions of payment of tribute and required labor service, the Spanish could tap into these systems to extract wealth. There were few Spaniards and huge indigenous populations, so utilizing indigenous intermediaries was a practical solution to the incorporation of the indigenous population into the new regime of rule. By maintaining hierarchical divisions within communities, indigenous noblemen were the direct interface between the indigenous and Spanish spheres and kept their positions so long as they continued to be loyal to the Spanish crown.
The exploitation and demographic catastrophe that indigenous peoples experienced from Spanish rule in the Caribbean also occurred
as Spaniards expanded their control over territories and their indigenous populations. The crown set the indigenous communities legally apart from Spaniards (as well as Blacks), who comprised the República de Españoles, with the creation of the República de Indios. The crown attempted to curb Spaniards' exploitation, banning Spaniards' bequeathing their private grants of indigenous communities' tribute and encomienda labor in 1542 in the New Laws. In Mexico, the crown established the General Indian Court (Juzgado General de Indios), which heard disputes affecting individual indigenous as well as indigenous communities. Lawyers for these cases were funded by a half-real tax, an early example of legal aid for the poor. A similar legal apparatus was set up in Lima.
The Spaniards systematically attempted to transform structures of indigenous governance to those more closely resembling those of Spaniards, so the indigenous city-state became a Spanish town and the indigenous noblemen who ruled became officeholders of the town council (cabildo). Although the structure of the indigenous cabildo looked similar to that of the Spanish institution, its indigenous functionaries continued to follow indigenous practices. In central Mexico, there exist minutes of the sixteenth-century meetings in Nahuatl of the Tlaxcala cabildo. Indigenous noblemen were particularly important in the early period of colonization, since the economy of the encomienda was initially built on the extraction of tribute and labor from the commoners in their communities. As the colonial economy became more diversified and less dependent on these mechanisms for the accumulation of wealth, the indigenous noblemen became less important for the economy. However, noblemen became defenders of the rights to land and water controlled by their communities. In colonial Mexico, there are petitions to the king about a variety of issues important to particular indigenous communities when the noblemen did not get a favorable response from the local friar or priest or local royal officials.
Works by historians in the twentieth and twenty-first centuries have expanded the understanding of the impact of the Spanish conquest and changes during the more than three hundred years of Spanish rule. There are many such works for Mexico, often drawing on native-language documentation in Nahuatl, Only the most valuable low bulk products would be exported.
Agricultural export products
Cacao beans for chocolate emerged as an export product as Europeans developed a taste for sweetened chocolate. Another important export product was cochineal, a color-fast red dye made from dried insects living on cacti. It became the second-most valuable export from Spanish America after silver.
19th century
During the Napoleonic Peninsular War in Europe between France and Spain, assemblies called juntas were established to rule in the name of Ferdinand VII of Spain.
The Libertadores (Spanish and Portuguese for "Liberators") were the principal leaders of the Spanish American wars of independence. They were predominantly criollos (Americas-born people of European ancestry, mostly Spanish or Portuguese), bourgeois and influenced by liberalism and in some cases with military training in the mother country.
In 1809 the first declarations of independence from Spanish rule occurred in the Viceroyalty of Peru. The first two were in the Alto Perú, present-day Bolivia, at Charcas (present day Sucre, May 25), and La Paz (July 16); and the third in present-day Ecuador at Quito (August 10). In 1810 Mexico declared independence, with the Mexican War of Independence following for over a decade. In 1821 Treaty of Córdoba established Mexican independence from Spain and concluded the War. The Plan of Iguala was part of the peace treaty to establish a constitutional foundation for an independent Mexico.
These began a movement for colonial independence that spread to Spain's other colonies in the Americas. The ideas from the French and the American Revolution influenced the efforts. All of the colonies, except Cuba and Puerto Rico, attained independence by the 1820s. The British Empire offered support, wanting to end the Spanish monopoly on trade with its colonies in the Americas.
In 1898, the United States achieved victory in the Spanish–American War with Spain, ending the Spanish colonial era. Spanish possession and rule of its remaining colonies in the Americas ended in that year with its sovereignty transferred to the United States. The United States took occupation of Cuba, the Philippines, and Puerto Rico. Puerto Rico continues to be a possession of the United States, now officially continues as a self-governing unincorporated territory.
In popular culture
In the twentieth century, there have been a number of films depicting the life of Christopher Columbus. One in 1949 stars Frederic March as Columbus. With the 1992 commemoration (and critique) of Columbus, more cinematic and television depictions of the era appeared, including a TV miniseries with Gabriel Byrne as Columbus. Christopher Columbus: The Discovery (1992) has Georges Corroface as Columbus with Marlon Brando as Tomás de Torquemada and Tom Selleck as King Ferdinand and Rachel Ward as Queen Isabela. 1492: The Conquest of Paradise stars Gérard Depardieu as Columbus and Sigorney Weaver as Queen Isabel. A 2010 film, Even the Rain starring Gael García Bernal, is set in modern Cochabamba, Bolivia during the Cochabamba Water War, following a film crew shooting a controversial life of Columbus. A 1995 Bolivian-made film is in some ways similar to Even the Rain is To Hear the Birds Singing, with a modern film crew going to an indigenous settlement to shot a film about the Spanish conquest and end up replicating aspects of the conquest.
For the conquest of Mexico, a 2019 an eight-episode Mexican TV miniseries Hernán depicts the conquest of Mexico. Other notable historical figures in the production are Malinche, Cortés cultural translator, and other conquerors Pedro de Alvarado, Cristóbal de Olid, Bernal Díaz del Castillo. Showing the indigenous sides are Xicotencatl, a leader of the Spaniards' Tlaxcalan allies, and Aztec emperors Moctezuma II and Cuitlahuac. The story of Doña Marina, also known as Malinche, was the subject of a Mexican TV miniseries in 2018. A major production in Mexico was the 1998 film, The Other Conquest, which focuses on a Nahua in the post-conquest era and the evangelization of central Mexico.
The epic journey of Álvar Núñez Cabeza de Vaca has been portrayed in a 1991 feature-length Mexican film, Cabeza de Vaca. The similarly epic and dark journey of Lope de Aguirre was made into a film by Werner Herzog, Aguirre, the Wrath of God (1972), starring Klaus Kinsky.
The Mission was a 1996 film idealizing a Jesuit mission to the Guaraní in the territory disputed between Spain and Portugal. The film starred Robert De Niro, Jeremy Irons, and Liam Neeson and It won an Academy Award.
The life of seventeenth-century Mexican nun, Sor Juana Inés de la Cruz, renowned in her lifetime, has been portrayed in a 1990 Argentine film, I, the Worst of All and in a TV miniseries Juana Inés. Seventeenth-century Mexican trickster, Martín Garatuza was the subject of a late nineteenth-century novel by Mexican politician and writer, Vicente Riva Palacio. In the twentieth century, Garatuza's life was the subject of a 1935 film and a 1986 telenovela, Martín Garatuza.
For the independence era, the 2016 Bolivian-made film made about Mestiza independence leader Juana Azurduy de Padilla is part of the recent recognition of her role in the independence of Argentina and Bolivia.
Dominions
North America, Central America
Viceroyalty of New Spain (1535–1821)
Las Californias
Nuevo Reino de León
Territorio de Nutka
Nuevo Santander
Nueva Vizcaya
Santa Fe de Nuevo México
Nueva Extremadura
Nueva Galicia
Captaincy General of Guatemala
La Luisiana (until 1801).
Spanish Florida (until 1819).
Captaincy General of Cuba (until 1898)
Captaincy General of Puerto Rico (until 1898)
Santo Domingo (last Spanish rule 1861–1865)
Captaincy General of the Philippines (administered by New Spain from 1565 to 1821, then after Mexican independence transferred to and directly administered by Madrid until 1898)
South America
Viceroyalty of Perú (1542–1824)
Captaincy General of Chile (1541–1818)
Viceroyalty of New Granada (1717–1819)
Captaincy General of Venezuela
Viceroyalty of the Río de la Plata (1776–1814)
See also
Atlantic World
Cartography of Latin America
Castas
Spanish Empire
Spanish American Enlightenment
Black legend (Spain)
Hapsburg Spain
List of largest empires
Population history of indigenous peoples of the Americas
Valladolid debate
Viceroyalty of New Spain
Viceroyalty of Peru
Notes
References
Further reading
Altman, Ida and David Wheat, eds. The Spanish Caribbean and the Atlantic World in the Long Sixteenth Century. Lincoln: University of Nebraska Press 2019.
Brading, D. A., The First America: the Spanish Monarchy, Creole Patriots, and the Liberal State, 1492–1867 (Cambridge: Cambridge University Press, 1993).
Burkholder, Mark A. and Lyman L. Johnson. Colonial Latin America, 10th ed. Oxford University Press 2018.
Chipman, Donald E. and Joseph, Harriett Denise. Spanish Texas, 1519–1821. (Austin: University of Texas Press, 1992)
Clark, Larry R. Imperial Spain’s Failure to Colonize Southeast North America: 1513 - 1587 (TimeSpan Press 2017) updated edition to Spanish Attempts to Colonize Southeast North America (McFarland Publishing, 2010)
Elliott, J. H. Empires of the Atlantic World: Britain and Spain in America, 1492–1830 (New Haven: Yale University Press, 2007)
Gibson, Carrie. Empire's Crossroads: A History of the Caribbean from Columbus to the Present Day (New York: Grove Press, 2015)
Gibson, Carrie. El Norte: The Epic and Forgotten Story of Hispanic North America (New York: Atlantic Monthly Press, 2019)
Gibson, Charles. Spain in America. New York: Harper and Row 1966.
Goodwin, Robert. América: The Epic Story of Spanish North America, 1493-1898 (London: Bloomsbury Publishing, 2019)
Hanke, Lewis. The Spanish Struggle for Justice in the Conquest of America (Boston: Little, Brown, and Co., 1965).
Haring, Clarence H. The Spanish Empire in America (London: Oxford University Press, 1947)
Kamen, Henry. Empire: How Spain Became a World Power, 1492–1763 (HarperCollins, 2004)
Lockhart, James and Stuart B. Schwartz. Early Latin America: A History of Colonial Spanish America and Brazil. New York: Cambridge University Press 1983.
Merriman, Roger Bigelow. The Rise of the Spanish Empire in the Old World and in the New (4 Vol. London: Macmillan, 1918) online free
Portuondo, María M. Secret Science: Spanish Cosmography and the New World (Chicago: Chicago UP, 2009).
Restall, Matthew and Fernández-Armesto, Felipe. The Conquistadors: A Very Short Introduction (2012) excerpt and text search
Restall, Matthew and Kris Lane. Latin America in Colonial Times. New York: Cambridge University Press 2011.
Thomas, Hugh. Rivers of Gold: the rise of the Spanish Empire, from Columbus to Magellan (2005)
Weber, David J. The Spanish Frontier in North America (Yale University Press, 1992)
Historiography
Cañeque, Alejandro "The Political and Institutional History of Colonial Spanish America" History Compass (April 2013) 114 pp 280–291,
Herzog, Tamar (2018). "Indigenous Reducciones and Spanish Resettlement: Placing Colonial and European History in Dialogue". Ler Historia (72): 9-30. doi:10.4000/lerhistoria.3146. ISSN 0870-6182.
Weber, David J. "John Francis Bannon and the Historiography of the Spanish Borderlands: Retrospect and Prospect." Journal of the Southwest (1987): 331–363. See John Francis Bannon
Weber, David J. “The Spanish Borderlands, Historiography Redux.” The History Teacher, vol. 39, no. 1, 2005, pp. 43–56. JSTOR, online.
External links
Spanish Exploration and Conquest of North America
Spain in America (Edward Gaylord Bourne, 1904) 'Spain in America'
The Spanish Borderlands (Herbert E. Bolton, 1921) 'The Spanish Borderlands'
Indigenous Puerto Rico DNA evidence upsets established history
“The Political Force of Images,” Vistas: Visual Culture in Spanish America, 1520–1820.
Spanish exploration in the Age of Discovery
16th century in North America
16th century in Central America
16th century in South America
16th century in the Spanish Empire
History of indigenous peoples of the Americas
History of the Colony of Santo Domingo
Former empires
Americas
History of the Americas | false | [
"What Happened may refer to:\n\n What Happened (Clinton book), 2017 book by Hillary Clinton\n What Happened (McClellan book), 2008 autobiography by Scott McClellan\n \"What Happened\", a song by Sublime from the album 40oz. to Freedom\n \"What Happened\", an episode of One Day at a Time (2017 TV series)\n\nSee also\nWhat's Happening (disambiguation)",
"An Englishman in Auschwitz is a 2001 book written by Leon Greenman, a Holocaust survivor. The book details his experiences in the Auschwitz concentration camp.\n\nThe book is a result of the commitment of English-born Greenman to God \"that if he lived, he would let the world know what happened during the war\". In short, the book describes the reminiscences of his days of imprisonment in six concentration camps of the Nazis. Greenman describes the arrival of his family (consisting of himself, his wife, Esther, a Dutchwoman, and their three-year-old son, Barney) at the Auschwitz-Birkenau concentration camp in these words: The women were separated from the men: Else and Barny were marched about 20 yards away to a queue of women...I tried to watch Else. I could see her clearly against the blue lights. She could see me too for she threw me a kiss and held up our child for me to see. What was going through her mind I will never know. Perhaps she was pleased that the journey had come to an end.\n\nReferences\n\n2001 non-fiction books\nPersonal accounts of the Holocaust"
]
|
[
"Spanish colonization of the Americas",
"Mexico",
"When did the colonization of Mexico begin?",
"The Spanish conquest of Mexico is generally understood to be the Spanish conquest of the Aztec Empire (1519-21) which was the base for later conquests of other regions.",
"What happened during this period?",
"Later conquests were protracted campaigns with less spectacular results than the conquest of the Aztecs.",
"What was so spectacular about the conquest of the Aztecs?",
"The victory over the Aztecs was relatively quick, from 1519 to 1521, and aided by his Tlaxcala and other allies from indigenous city-states or altepetl.",
"What else happened during this time?",
"These polities allied against the Aztec empire, to which they paid tribute following conquest or threat of conquest, leaving the city-states' political hierarchy and social structure in place."
]
| C_481aa00f10ba4a8c8e8950d309ce24a0_1 | Were these cities eventually conquered themselves? | 5 | Were the cities eventually conquered? | Spanish colonization of the Americas | The Spanish conquest of Mexico is generally understood to be the Spanish conquest of the Aztec Empire (1519-21) which was the base for later conquests of other regions. Later conquests were protracted campaigns with less spectacular results than the conquest of the Aztecs. The Spanish conquest of Yucatan, the Spanish conquest of Guatemala, the war of Mexico's west, and the Chichimeca War in northern Mexico expanded Spanish control over territory and indigenous populations. But not until the Spanish conquest of Peru was the conquest of the Aztecs matched in scope by the victory over the Inca empire in 1532. The Spanish conquest of the Aztec empire was led by Hernan Cortes. The victory over the Aztecs was relatively quick, from 1519 to 1521, and aided by his Tlaxcala and other allies from indigenous city-states or altepetl. These polities allied against the Aztec empire, to which they paid tribute following conquest or threat of conquest, leaving the city-states' political hierarchy and social structure in place. The Spanish conquest of Yucatan was a much longer campaign, from 1551 to 1697, against the Maya peoples in the Yucatan Peninsula of present-day Mexico and northern Central America. Hernan Cortes' landing ashore at present day Veracruz and founding the Spanish city there on April 22, 1519 marked the beginning of 300 years of Spanish hegemony over the region. The assertion of royal control over the Kingdom of New Spain and the initial Spanish conquerors took over a decade, with importance of the region meriting the creation of the Viceroyalty of New Spain. Established by Charles V in 1535, the first viceroy was Don Antonio de Mendoza. Spain colonized and exerted control of Alta California through the Spanish missions in California until the Mexican secularization act of 1833. CANNOTANSWER | CANNOTANSWER | The Spanish colonization of the Americas began under the Crown of Castile and was spearheaded by the Spanish conquistadors. The Americas were invaded and incorporated into the Spanish Empire, with the exception of Brazil, British America, and some small regions of South America and the Caribbean. The crown created civil and religious structures to administer the vast territory. The main motivations for colonial expansion were profit through resource extraction and the spread of Catholicism through indigenous conversions.
Beginning with the 1492 arrival of Christopher Columbus in the Caribbean and gaining control over more territory for over three centuries, the Spanish Empire would expand across the Caribbean Islands, half of South America, most of Central America and much of North America. It is estimated that during the colonial period (1492–1832), a total of 1.86 million Spaniards settled in the Americas, and a further 3.5 million immigrated during the post-colonial era (1850–1950); the estimate is 250,000 in the 16th century and most during the 18th century, as immigration was encouraged by the new Bourbon dynasty.
By contrast, the indigenous population plummeted by an estimated 80% in the first century and a half following Columbus's voyages, primarily through the spread of disease, forced labor and slavery for resource extraction, and missionization. This has been argued to be the first large-scale act of genocide in the modern era.
In the early 19th century, the Spanish American wars of independence resulted in the secession and subsequent division of most Spanish territories in the Americas, except for Cuba and Puerto Rico, which were lost to the United States in 1898, following the Spanish–American War. The loss of these territories ended Spanish rule in the Americas.
Imperial expansion
The expansion of Spain’s territory took place under the Catholic Monarchs Isabella of Castile, Queen of Castile and her husband King Ferdinand, King of Aragon, whose marriage marked the beginning of Spanish power beyond the Iberian peninsula. They pursued a policy of joint rule of their kingdoms and created the initial stage of a single Spanish monarchy, completed under the eighteenth-century Bourbon monarchs. The first expansion of territory was the conquest of the Muslim Emirate of Granada on January 1, 1492, the culmination of the Christian Reconquest of the Iberian peninsula, held by the Muslims since 711. On March 31, 1492, the Catholic Monarch ordered the expulsion of the Jews in Spain who refused to convert to Christianity. On October 12, 1492, Genoese mariner Christopher Columbus made landfall in the Western Hemisphere.
Even though Castile and Aragon were ruled jointly by their respective monarchs, they remained separate kingdoms so that when the Catholic Monarchs gave official approval for the plans for Columbus’s voyage to reach "the Indies" by sailing West, the funding came from the queen of Castile. The profits from Spanish expedition flowed to Castile. The Kingdom of Portugal authorized a series of voyages down the coast of Africa and when they rounded the southern tip, were able to sail to India and further east. Spain sought similar wealth, and authorized Columbus’s voyage sailing west. Once the Spanish settlement in the Caribbean occurred, Spain and Portugal formalized a division of the world between them in the 1494 Treaty of Tordesillas. The deeply pious Isabella saw the expansion of Spain's sovereignty inextricably paired with the evangelization of non-Christian peoples, the so-called “spiritual conquest” with the military conquest. Pope Alexander VI in a 4 May 1493 papal decree, Inter caetera, divided rights to lands in the Western Hemisphere between Spain and Portugal on the proviso that they spread Christianity. These formal arrangements between Spain and Portugal and the pope were ignored by other European powers.
General principles of expansion
The Spanish expansion has sometimes been succinctly summed up as "gold, glory, God." The search for material wealth, the enhancement of the conquerors' and the crown's position, and the expansion of Christianity. In the extension of Spanish sovereignty to its overseas territories, authority for expeditions (entradas) of discovery, conquest, and settlement resided in the monarchy. Expeditions required authorization by the crown, which laid out the terms of such expedition. Virtually all expeditions after the Columbus voyages, which were funded by the crown of Castile, were done at the expense of the leader of the expedition and its participants. Although often the participants, conquistadors, are now termed “soldiers”, they were not paid soldiers in ranks of an army, but rather soldiers of fortune, who joined an expedition with the expectation of profiting from it. The leader of an expedition, the adelantado was a senior with material wealth and standing who could persuade the crown to issue him a license for an expedition. He also had to attract participants to the expedition who staked their own lives and meager fortunes on the expectation of the expedition’s success. The leader of the expedition pledged the larger share of capital to the enterprise, which in many ways functioned as a commercial firm. Upon the success of the expedition, the spoils of war were divvied up in proportion to the amount a participant initially staked, with the leader receiving the largest share. Participants supplied their own armor and weapons, and those who had a horse received two shares, one for himself, the second recognizing the value of the horse as a machine of war. For the conquest era, two names of Spaniards are generally known because they led the conquests of high indigenous civilizations, Hernán Cortés, leader of the expedition that conquered the Aztecs of Central Mexico, and Francisco Pizarro, leader of the conquest of the Inca in Peru.
Caribbean islands and the Spanish Main
Until his dying day, Columbus was convinced that he had reached Asia, the Indies. From that misperception the Spanish called the indigenous peoples of the Americas, "Indians" (indios), lumping a multiplicity of civilizations, groups, and individuals into a single category. The Spanish royal government called its overseas possessions "The Indies" until its empire dissolved in the nineteenth century. Patterns set in this early period of exploration and colonization were to endure as Spain expanded further, even as the region became less important in the overseas empire after the conquests of Mexico and Peru.
In the Caribbean, there was no large-scale Spanish conquest of indigenous peoples, but there was indigenous resistance. Columbus made four voyages to the West Indies as the monarchs granted Columbus vast powers of governance over this unknown part of the world. The crown of Castile financed more of his trans-Atlantic journeys, a pattern they would not repeat elsewhere. Effective Spanish settlement began in 1493, when Columbus brought livestock, seeds, agricultural equipment. The first settlement of La Navidad, a crude fort built on his first voyage in 1492, had been abandoned by the time he returned in 1493. He then founded the settlement of La Isabela on the island they named Hispaniola (now divided into Haiti and the Dominican Republic).
Spanish explorations of other islands in the Caribbean and what turned out to be the mainland of South and Central America occupied them for over two decades. Columbus had promised that the region he now controlled held a huge treasure in the form of gold and spices. Spanish settlers found relatively dense populations of indigenous peoples, who were agriculturalists living in villages ruled by leaders not part of a larger integrated political system. For the Spanish, these populations were there for their exploitation, to supply their own settlements with foodstuffs, but more importantly for the Spanish, to extract mineral wealth or produce another valuable commodity for Spanish enrichment. The labor of dense populations of Tainos were allocated to Spanish settlers in an institution known as the encomienda, where particular indigenous settlements were awarded to individual Spaniards. There was surface gold found in early islands, and holders of encomiendas put the indigenous to work panning for it. For all practical purposes, this was slavery. Queen Isabel put an end to formal slavery, declaring the indigenous to be vassals of the crown, but Spaniards' exploitation continued. The Taino population on Hispaniola went from hundreds of thousands or millions –- the estimates by scholars vary widely—but in the mid-1490s, they were practically wiped out. Disease and overwork, disruption of family life and the agricultural cycle (which caused severe food shortages to Spaniards dependent on them) rapidly decimated the indigenous population. From the Spanish viewpoint, their source of labor and viability of their own settlements was at risk. After the collapse of the Taino population of Hispaniola, Spaniards took to slave raiding and settlement on nearby islands, including Cuba, Puerto Rico, and Jamaica, replicating the demographic catastrophe there as well.
Dominican friar Antonio de Montesinos denounced Spanish cruelty and abuse in a sermon in 1511, which comes down to us in the writings of Dominican friar Bartolomé de las Casas. In 1542 Las Casas wrote a damning account of this genocide, A Short Account of the Destruction of the Indies. It was translated quickly to English and became the basis for the anti-Spanish writings, collectively known as the Black Legend.
The first mainland explorations by Spaniards were followed by a phase of inland expeditions and conquest. In 1500 the city of Nueva Cádiz was founded on the island of Cubagua, Venezuela, followed by the founding of Santa Cruz by Alonso de Ojeda in present-day Guajira peninsula. Cumaná in Venezuela was the first permanent settlement founded by Europeans in the mainland Americas, in 1501 by Franciscan friars, but due to successful attacks by the indigenous people, it had to be refounded several times, until Diego Hernández de Serpa's foundation in 1569. The Spanish founded San Sebastián de Uraba in 1509 but abandoned it within the year. There is indirect evidence that the first permanent Spanish mainland settlement established in the Americas was Santa María la Antigua del Darién.
Spaniards spent over 25 years in the Caribbean where their initial high hopes of dazzling wealth gave way to continuing exploitation of disappearing indigenous populations, exhaustion of local gold mines, initiation of cane sugar cultivation as an export product, and importation of African slaves as a labor force. Spaniards continued to expand their presence in the circum-Caribbean region with expeditions. One was by Francisco Hernández de Córdoba in 1517, another by Juan de Grijalva in 1518, which brought promising news of possibilities there. Even by the mid-1510s, the western Caribbean was largely unexplored by Spaniards. A well-connected settler in Cuba, Hernán Cortés received authorization in 1519 by the governor of Cuba to form an expedition of exploration-only to this far western region. That expedition was to make world history.
Mexico
It wasn’t until Spanish expansion into modern-day Mexico that Spanish explorers were able to find wealth on the scale that they had been hoping for. Unlike Spanish expansion in the Caribbean, which involved limited armed combat and sometimes the participation of indigenous allies, the conquest of central Mexico was protracted and necessitated indigenous allies who chose to participate for their own purposes. The conquest of the Aztec empire involved the combined effort of armies from many indigenous allies, spearheaded by a small Spanish force of conquistadors. The Aztec empire was a fragile confederation of city-states. Spaniards persuaded the leaders of subordinate city-states and one city-state never conquered by the Aztecs, Tlaxcala, to join them in huge numbers, with thousands, perhaps tens of thousands of indigenous warriors. The conquest of central Mexico is one of the best-documented events in world history, with accounts by the expedition leader Hernán Cortés, many other Spanish conquistadors, including Bernal Díaz del Castillo, indigenous allies from the city-states altepetl of Tlaxcala, Texcoco, and Huexotzinco, but also importantly, the defeated of Tenochtitlan, the Aztec capital. What can be called the visions of the vanquished, indigenous accounts written in the sixteenth century, are a rare case of history being written by those other than the victors.
The capture of the Aztec emperor Moctezuma II by Cortés was not a brilliant stroke of innovation, but came from the playbook that the Spanish developed during their period in the Caribbean. The composition of the expedition was the standard pattern, with a senior leader, and participating men investing in the enterprise with the full expectation of rewards if they did not lose their lives. Cortés’s seeking indigenous allies was a typical tactic of warfare: divide and conquer. But the indigenous allies had much to gain by throwing off Aztec rule. For the Spaniards’ Tlaxcalan allies, their crucial support gained them enduring political legacy into the modern era, the Mexican state of Tlaxcala.
The conquest of central Mexico sparked further Spanish conquests, following the pattern of conquered and consolidated regions being the launching point for further expeditions. These were often led by secondary leaders, such as Pedro de Alvarado. Later conquests in Mexico were protracted campaigns with less spectacular results than the conquest of the Aztecs. The Spanish conquest of Yucatán, the Spanish conquest of Guatemala, the conquest of the Tarascans/Purépecha of Michoacan, the war of Mexico's west, and the Chichimeca War in northern Mexico expanded Spanish control over territory and indigenous populations. But not until the Spanish conquest of Peru was the conquest of the Aztecs matched in scope by the victory over the Inca empire in 1532.
Peru
In 1532 at the Battle of Cajamarca a group of Spaniards under Francisco Pizarro and their indigenous Andean Indian auxiliaries native allies ambushed and captured the Emperor Atahualpa of the Inca Empire. It was the first step in a long campaign that took decades of fighting to subdue the mightiest empire in the Americas. In the following years, Spain extended its rule over the Empire of the Inca civilization.
The Spanish took advantage of a recent civil war between the factions of the two brothers Emperor Atahualpa and Huáscar, and the enmity of indigenous nations the Incas had subjugated, such as the Huancas, Chachapoyas, and Cañaris. In the following years the conquistadors and indigenous allies extended control over Greater Andes Region. The Viceroyalty of Perú was established in 1542. The last Inca stronghold was conquered by the Spanish in 1572.
Peru was the last territory in the continent under Spanish rule, which ended on 9 December 1824 at the Battle of Ayacucho (Spanish rule continued until 1898 in Cuba and Puerto Rico).
Chile
Chile was explored by Spaniards based in Peru, where Spaniards found the fertile soil and mild climate attractive. The Mapuche people of Chile, whom the Spaniards called Araucanians, resisted fiercely. The Spanish did establish the settlement of Chile in 1541, founded by Pedro de Valdivia.
Southward colonization by the Spanish in Chile halted after the conquest of Chiloé Archipelago in 1567. This is thought to have been the result of an increasingly harsh climate to the south, and the lack of a populous and sedentary indigenous population to settle among for the Spanish in the fjords and channels of Patagonia. South of the Bío-Bío River the Mapuche successfully reversed colonization with the Destruction of the Seven Cities in 1599–1604. This Mapuche victory laid the foundation for the establishment of a Spanish-Mapuche frontier called La Frontera. Within this frontier the city of Concepción assumed the role of "military capital" of Spanish-ruled Chile. With a hostile indigenous population, no obvious mineral or other exploitable resources, and little strategic value, Chile was a fringe area of colonial Spanish America, hemmed in geographically by the Andes to the east, Pacific Ocean to the west, and indigenous to the south.
New Granada
Between 1537 and 1543, six Spanish expeditions entered highland Colombia, conquered the Muisca Confederation, and set up the New Kingdom of Granada (). Gonzalo Jiménez de Quesada was the leading conquistador with his brother Hernán second in command. It was governed by the president of the Audiencia of Bogotá, and comprised an area corresponding mainly to modern-day Colombia and parts of Venezuela. The conquistadors originally organized it as a captaincy general within the Viceroyalty of Peru. The crown established the audiencia in 1549. Ultimately, the kingdom became part of the Viceroyalty of New Granada first in 1717 and permanently in 1739. After several attempts to set up independent states in the 1810s, the kingdom and the viceroyalty ceased to exist altogether in 1819 with the establishment of Gran Colombia.
Venezuela
Venezuela was first visited by Europeans during the 1490s, when Columbus was in control of the region, and the region as a source for indigenous slaves for Spaniards in Cuba and Hispaniola, since the Spanish destruction of the local indigenous population. There were few permanent settlements, but Spaniards settled the coastal islands of Cubagua and Margarita to exploit the pearl beds. Western Venezuela’s history took an atypical direction in 1528, when Spain’s first Hapsburg monarch, Charles I granted rights to colonize to the German banking family of the Welsers. Charles sought to be elected Holy Roman Emperor and was willing to pay whatever it took to achieve that. He became deeply indebted to the German Welser and Fugger banking families. To satisfy his debts to the Welsers, he granted them the right to colonize and exploit western Venezuela, with the proviso that they found two towns with 300 settlers each and construct fortifications. They established the colony of Klein-Venedig in 1528. They founded the towns of Coro and Maracaibo. They were aggressive in making their investment pay, alienating the indigenous populations and Spaniards alike. Charles revoked the grant in 1545, ending the episode of German colonization.
Río de la Plata and Paraguay
Argentina was not conquered or later exploited in the grand fashion of central Mexico or Peru, since the indigenous population was sparse and there were no precious metals or other valuable resources. Although today Buenos Aires at the mouth of Río de la Plata is a major metropolis, it held no interest for Spaniards and the 1535-36 settlement failed and was abandoned by 1541. Pedro de Mendoza and Domingo Martínez de Irala, who led the original expedition, went inland and founded Asunción, Paraguay, which became the Spaniards' base. A second (and permanent) settlement was established in 1580 by Juan de Garay, who arrived by sailing down the Paraná River from Asunción, now the capital of Paraguay. Exploration from Peru resulted in the foundation of Tucumán in what is now northwest Argentina.
End of era of exploration
The spectacular conquests of central Mexico (1519–21) and Peru (1532) sparked Spaniards' hopes of finding yet another high civilization. Expeditions continued into the 1540s and regional capitals founded by the 1550s. Among the most notable expeditions are Hernando de Soto into southeast North America, leaving from Cuba (1539–42); Francisco Vázquez de Coronado to northern Mexico (1540–42), and Gonzalo Pizarro to Amazonia, leaving from Quito, Ecuador (1541–42). In 1561, Pedro de Ursúa led an expedition of some 370 Spanish (including women and children) into Amazonia to search for El Dorado. Far more famous now is Lope de Aguirre, who led a mutiny against Ursúa, who was murdered. Aguirre subsequently wrote a letter to Philip II bitterly complaining about the treatment of conquerors like himself in the wake of the assertion of crown control over Peru. An earlier expedition that left in 1527 was led by Pánfilo Naváez, who was killed early on. Survivors continued to travel among indigenous groups in the North American south and southwest until 1536. Álvar Núñez Cabeza de Vaca was one of four survivors of that expedition, writing an account of it. The crown later sent him to Asunción, Paraguay to be adelantado there. Expeditions continued to explore territories in hopes of finding another Aztec or Inca empire, with no further success. Francisco de Ibarra led an expedition from Zacatecas in northern New Spain, and founded Durango. Juan de Oñate, is sometimes referred to as "the Last Conquistador", expanded Spanish sovereignty over what is now New Mexico. Like previous conquistadors, Oñate engaged in widespread abuses of the Indian population. Shortly after founding Santa Fe, Oñate was recalled to Mexico City by the Spanish authorities. He was subsequently tried and convicted of cruelty to both natives and colonists and banished from New Mexico for life.
Factors affecting Spanish settlement
Two major factors affected the density of Spanish settlement in the long term. One was the presence or absence of dense, hierarchically organized indigenous populations that could be made to work. The other was the presence or absence of an exploitable resource for the enrichment of settlers. Best was gold, but silver was found in abundance.
The two main areas of Spanish settlement after 1550 were Mexico and Peru, the sites of the Aztec and Inca indigenous civilizations. Equally important, rich deposits of the valuable metal silver. Spanish settlement in Mexico “largely replicated the organization of the area in preconquest times” while in Peru, the center of the Incas was too far south, too remote, and at too high an altitude for the Spanish capital. The capital Lima was built near the Pacific coast. The capitals of Mexico and Peru, Mexico City and Lima came to have large concentrations of Spanish settlers and became the hubs of royal and ecclesiastical administration, large commercial enterprises and skilled artisans, and centers of culture. Although Spaniards had hoped to find vast quantities of gold, the discovery of large quantities of silver became the motor of the Spanish colonial economy, a major source of income for the Spanish crown, and transformed the international economy. Mining regions in both Mexico were remote, outside the zone of indigenous settlement in central and southern Mexico Mesoamerica, but mines in Zacatecas (founded 1548) and Guanajuato (founded 1548) were key hubs in the colonial economy. In Peru, silver was found in a single silver mountain, the Cerro Rico de Potosí, still producing silver in the 21st century. Potosí (founded 1545) was in the zone of dense indigenous settlement, so that labor could be mobilized on traditional patterns to extract the ore. An important element for productive mining was mercury for processing high-grade ore. Peru had a source in Huancavelica (founded 1572), while Mexico had to rely on mercury imported from Spain.
Establishment of early settlements
The Spanish founded towns in the Caribbean, on Hispaniola and Cuba, on a pattern that became spatially similar throughout Spanish America. A central plaza had the most important buildings on the four sides, especially buildings for royal officials and the main church. A checkerboard pattern radiated outward. Residences of the officials and elites were closest to the main square. Once on the mainland, where there were dense indigenous populations in urban settlements, the Spanish could build a Spanish settlement on the same site, dating its foundation to when that occurred. Often they erected a church on the site of an indigenous temple. They replicated the existing indigenous network of settlements, but added a port city. The Spanish network needed a port city so that inland settlements could be connected by sea to Spain. In Mexico, the Hernán Cortés and the men of his expedition founded of the port town of Veracruz in 1519 and constituted themselves as the town councilors, as a means to throw off the authority of the governor of Cuba, who did not authorize an expedition of conquest. start of the conquest of central Mexico; once the Aztec empire was toppled, they founded Mexico City on the ruins of the Aztec capital. Their central official and ceremonial area was built on top of Aztec palaces and temples. In Peru, Spaniards founded the city of Lima as their capital and its nearby port of Callao, rather than the high-altitude site of Cuzco, the center of Inca rule. Spaniards established a network of settlements in areas they conquered and controlled. Important ones include Santiago de Guatemala (1524); Puebla (1531); Querétaro (ca. 1531); Guadalajara (1531–42); Valladolid (now Morelia), (1529–41); Antequera (now Oaxaca(1525–29); Campeche (1541); and Mérida. In southern Central and South America, settlements were founded in Panama (1519); León, Nicaragua (1524); Cartagena (1532); Piura (1532); Quito (1534); Trujillo (1535); Cali (1537) Bogotá (1538); Quito (1534); Cuzco 1534); Lima (1535); Tunja, (1539); Huamanga 1539; Arequipa (1540); Santiago de Chile (1544) and Concepción, Chile (1550). Settled from the south were Buenos Aires (1536, 1580); Asunción (1537); Potosí (1545); La Paz, Bolivia (1548); and Tucumán (1553).
Ecological conquests
The Columbian Exchange was as significant as the clash of civilizations. Arguably the most significant introduction was diseases brought to the Americas, which devastated indigenous populations in a series of epidemics. The loss of indigenous population had a direct impact on Spaniards as well, since increasingly they saw those populations as a source of their own wealth, disappearing before their eyes.
In the first settlements in the Caribbean, the Spaniards deliberately brought animals and plants that transformed the ecological landscape. Pigs, cattle, sheep, goats, and chickens allowed Spaniards to eat a diet with which they were familiar. But the importation of horses transformed warfare for both the Spaniards and the indigenous. Where the Spaniards had exclusive access to horses in warfare, they had an advantage over indigenous warriors on foot. They were initially a scarce commodity, but horse breeding became an active industry. Horses that escaped Spanish control were captured by indigenous; many indigenous also raided for horses. Mounted indigenous warriors were significant foes for Spaniards. The Chichimeca in northern Mexico, the Comanche in the northern Great Plains and the Mapuche in southern Chile and the pampas of Argentina resisted Spanish conquest. For Spaniards, the fierce Chichimecas barred them for exploiting mining resources in northern Mexico. Spaniards waged a fifty-year war (ca. 1550-1600) to subdue them, but peace was only achieved by Spaniards’ making significant donations of food and other commodities the Chichimeca demanded. "Peace by purchase" ended the conflict. In southern Chile and the pampas, the Araucanians (Mapuche) prevented further Spanish expansion. The image of mounted Araucanians capturing and carrying off white women was the embodiment of Spanish ideas of civilization and barbarism.
Cattle multiplied quickly in areas where little else could turn a profit for Spaniards, including northern Mexico and the Argentine pampas. The introduction of sheep production was an ecological disaster in places where they were raised in great numbers, since they ate vegetation to the ground, preventing the regeneration of plants.
The Spanish brought new crops for cultivation. They preferred wheat cultivation to indigenous sources of carbohydrates: casava, maize (corn), and potatoes, initially importing seeds from Europe and planting in areas where plow agriculture could be utilized, such as the Mexican Bajío. They also imported cane sugar, which was a high-value crop in early Spanish America. Spaniards also imported citrus trees, establishing orchards of oranges, lemons, and limes, and grapefruit. Other imports were figs, apricots, cherries, pears, and peaches among others. The exchange did not go one way. Important indigenous crops that transformed Europe were the potato and maize, which produced abundant crops that led to the expansion of populations in Europe. Chocolate (Nahuatl: chocolate) and vanilla were cultivated in Mexico and exported to Europe. Among the foodstuffs that became staples in European cuisine and could be grown there were tomatoes, squashes, bell peppers, and to a lesser extent in Europe chili peppers; also nuts of various kinds: Walnuts, cashews, pecans, and peanuts.
Civil governance
The empire in the Indies was a newly established dependency of the kingdom of Castile alone, so crown power was not impeded by any existing cortes (i.e. parliament), administrative or ecclesiastical institution, or seigneurial group. The crown sought to establish and maintain control over its overseas possessions through a complex, hierarchical bureaucracy, which in many ways was decentralized. The crown asserted is authority and sovereignty of the territory and vassals it claimed, collected taxes, maintained public order, meted out justice, and established policies for governance of large indigenous populations. Many institutions established in Castile found expression in The Indies from the early colonial period. Spanish universities expanded to train lawyer-bureaucrats (letrados) for administrative positions in Spain and its overseas empire.
The end of the Habsburg dynasty in 1700 saw major administrative reforms in the eighteenth century under the Bourbon monarchy, starting with the first Spanish Bourbon monarch, Philip V (r. 1700-1746) and reaching its apogee under Charles III (r. 1759-1788). The reorganization of administration has been called "a revolution in government." Reforms sought to centralize government control through reorganization of administration, reinvigorate the economies of Spain and the Spanish empire through changes in mercantile and fiscal policies, defend Spanish colonies and territorial claims through the establishment of a standing military, undermine the power of the Catholic church, and rein in the power of the American-born elites.
Early institutions of governance
The crown relied on ecclesiastics as important councilors and royal officials in the governance of their overseas territories. Archbishop Juan Rodríguez de Fonseca, Isabella's confessor, was tasked with reining in Columbus's independence. He strongly influenced the formulation of colonial policy under the Catholic Monarchs, and was instrumental in establishing the Casa de Contratación (House of Trade) (1503), which enabled crown control over trade and immigration. Ovando fitted out Magellan's voyage of circumnavigation, and became the first President of the Council of the Indies in 1524. Ecclesiastics also functioned as administrators overseas in the early Caribbean period, particularly Frey Nicolás de Ovando, who was sent to investigate the administration of Francisco de Bobadilla, the governor appointed to succeed Christopher Columbus. Later ecclesiastics served as interim viceroys, general inspectors (visitadores), and other high posts.
House of Trade
The crown established control over trade and emigration to the Indies with the 1503 establishment the Casa de Contratación (House of Trade) in Seville. Ships and cargoes were registered, and emigrants vetted to prevent migration of anyone not of old Christian heritage, (i.e., with no Jewish or Muslim ancestry), and facilitated the migration of families and women. In addition, the Casa de Contratación took charge of the fiscal organization, and of the organization and judicial control of the trade with the Indies.
Assertion of royal control in the early Caribbean
The politics of asserting royal authority to oppose Columbus resulted in the suppression of his privileges and the creation of territorial governance under royal authority. These governorates, also called as provinces, were the basic of the territorial government of the Indies, and arose as the territories were conquered and colonized. To carry out the expedition (entrada), which entailed exploration, conquest, and initial settlement of the territory, the king, as sovereign, and the appointed leader of an expedition (adelantado) agreed to an itemized contract (capitulación), with the specifics of the conditions of the expedition in a particular territory. The individual leaders of expeditions assumed the expenses of the venture and in return received as reward the grant from the government of the conquered territories; and in addition, they received instructions about treating the indigenous peoples.
After the end of the period of conquests, it was necessary to manage extensive and different territories with a strong bureaucracy. In the face of the impossibility of the Castilian institutions to take care of the New World affairs, other new institutions were created.
As the basic political entity it was the governorate, or province. The governors exercised judicial ordinary functions of first instance, and prerogatives of government legislating by ordinances. To these political functions of the governor, it could be joined the military ones, according to military requirements, with the rank of Captain general. The office of captain general involved to be the supreme military chief of the whole territory and he was responsible for recruiting and providing troops, the fortification of the territory, the supply and the shipbuilding.
Beginning in 1522 in the newly conquered Mexico, government units in the Spanish Empire had a royal treasury controlled by a set of oficiales reales (royal officials). There were also sub-treasuries at important ports and mining districts. The officials of the royal treasury at each level of government typically included two to four positions: a tesorero (treasurer), the senior official who guarded money on hand and made payments; a contador (accountant or comptroller), who recorded income and payments, maintained records, and interpreted royal instructions; a factor, who guarded weapons and supplies belonging to the king, and disposed of tribute collected in the province; and a veedor (overseer), who was responsible for contacts with native inhabitants of the province, and collected the king's share of any war booty. The veedor, or overseer, position quickly disappeared in most jurisdictions, subsumed into the position of factor. Depending on the conditions in a jurisdiction, the position of factor/veedor was often eliminated, as well.
The treasury officials were appointed by the king, and were largely independent of the authority of the viceroy, audiencia president or governor. On the death, unauthorized absence, retirement or removal of a governor, the treasury officials would jointly govern the province until a new governor appointed by the king could take up his duties. Treasury officials were supposed to be paid out of the income from the province, and were normally prohibited from engaging in income-producing activities.
Spanish law and indigenous peoples
The protection of the indigenous populations from enslavement and exploitation by Spanish settlers were established in the Laws of Burgos, 1512–1513. The laws were the first codified set of laws governing the behavior of Spanish settlers in the Americas, particularly with regards to treatment of native Indians in the institution of the encomienda. They forbade the maltreatment of natives, and endorsed the Indian Reductions with attempts of conversion to Catholicism. Upon their failure to effectively protect the indigenous and following the Spanish conquest of the Aztec Empire and the Spanish conquest of Peru, more stringent laws to control conquerors' and settlers' exercise of power, especially their maltreatment of the indigenous populations, were promulgated, known as the New Laws (1542). The crown aimed to prevent the formation of an aristocracy in the Indies not under crown control.
Queen Isabel was the first monarch that laid the first stone for the protection of the indigenous peoples in her testament in which the Catholic monarch prohibited the enslavement of the indigenous peoples of the Americas. Then the first such in 1542; the legal thought behind them was the basis of modern International law.
The Valladolid debate (1550–1551) was the first moral debate in European history to discuss the rights and treatment of a colonized people by colonizers. Held in the Colegio de San Gregorio, in the Spanish city of Valladolid, it was a moral and theological debate about the colonization of the Americas, its justification for the conversion to Catholicism and more specifically about the relations between the European settlers and the natives of the New World. It consisted of a number of opposing views about the way natives were to be integrated into colonial life, their conversion to Christianity and their rights and obligations. According to the French historian Jean Dumont The Valladolid debate was a major turning point in world history “In that moment in Spain appeared the dawn of the human rights”.
The indigenous populations in the Caribbean became the focus of the crown in its roles as sovereigns of the empire and patron of the Catholic Church. Spanish conquerors holding grants of indigenous labor in encomienda ruthlessly exploited them. A number of friars in the early period came to the vigorous defense of the indigenous populations, who were new converts to Christianity. Prominent Dominican friars in Santo Domingo, especially Antonio de Montesinos and Bartolomé de Las Casas denounced the maltreatment and pressed the crown to act to protect the indigenous populations. The crown enacted Laws of Burgos (1513) and the Requerimiento to curb the power of the Spanish conquerors and give indigenous populations the opportunity to peacefully embrace Spanish authority and Christianity. Neither was effective in its purpose. Las Casas was officially appointed Protector of the Indians and spent his life arguing forcefully on their behalf. The New Laws of 1542 were the result, limiting the power of encomenderos, the private holders of grants to indigenous labor previously held in perpetuity. The crown was open to limiting the inheritance of encomiendas in perpetuity as a way to extinguish the coalescence of a group of Spaniards impinging on royal power. In Peru, the attempt of the newly appointed viceroy, Blasco Núñez Vela, to implement the New Laws so soon after the conquest sparked a revolt by conquerors against the viceroy and the viceroy was killed in 1546. In Mexico, Don Martín Cortés, the son and legal heir of conqueror Hernán Cortés, and other heirs of encomiendas led a failed revolt against the crown. Don Martín was sent into exile, while other conspirators were executed.
Indigenous peoples and colonial rule
The conquest of the Aztec and Inca empires ended their sovereignty over their respective territorial expanses, replaced by the Spanish Empire. However, the Spanish Empire could not have ruled these vast territories and dense indigenous populations without utilizing the existing indigenous political and economic structures at the local level. A key to this was the cooperation between most indigenous elites with the new ruling structure. The Spanish recognized indigenous elites as nobles and gave them continuing standing in their communities. Indigenous elites could use the noble titles don and doña, were exempt from the head-tax, and could entail their landholdings into cacicazgos. These elites played an intermediary role between the Spanish rulers and indigenous commoners. Since in central and southern Mexico (Mesoamerica) and the highland Andes indigenous peoples had existing traditions of payment of tribute and required labor service, the Spanish could tap into these systems to extract wealth. There were few Spaniards and huge indigenous populations, so utilizing indigenous intermediaries was a practical solution to the incorporation of the indigenous population into the new regime of rule. By maintaining hierarchical divisions within communities, indigenous noblemen were the direct interface between the indigenous and Spanish spheres and kept their positions so long as they continued to be loyal to the Spanish crown.
The exploitation and demographic catastrophe that indigenous peoples experienced from Spanish rule in the Caribbean also occurred
as Spaniards expanded their control over territories and their indigenous populations. The crown set the indigenous communities legally apart from Spaniards (as well as Blacks), who comprised the República de Españoles, with the creation of the República de Indios. The crown attempted to curb Spaniards' exploitation, banning Spaniards' bequeathing their private grants of indigenous communities' tribute and encomienda labor in 1542 in the New Laws. In Mexico, the crown established the General Indian Court (Juzgado General de Indios), which heard disputes affecting individual indigenous as well as indigenous communities. Lawyers for these cases were funded by a half-real tax, an early example of legal aid for the poor. A similar legal apparatus was set up in Lima.
The Spaniards systematically attempted to transform structures of indigenous governance to those more closely resembling those of Spaniards, so the indigenous city-state became a Spanish town and the indigenous noblemen who ruled became officeholders of the town council (cabildo). Although the structure of the indigenous cabildo looked similar to that of the Spanish institution, its indigenous functionaries continued to follow indigenous practices. In central Mexico, there exist minutes of the sixteenth-century meetings in Nahuatl of the Tlaxcala cabildo. Indigenous noblemen were particularly important in the early period of colonization, since the economy of the encomienda was initially built on the extraction of tribute and labor from the commoners in their communities. As the colonial economy became more diversified and less dependent on these mechanisms for the accumulation of wealth, the indigenous noblemen became less important for the economy. However, noblemen became defenders of the rights to land and water controlled by their communities. In colonial Mexico, there are petitions to the king about a variety of issues important to particular indigenous communities when the noblemen did not get a favorable response from the local friar or priest or local royal officials.
Works by historians in the twentieth and twenty-first centuries have expanded the understanding of the impact of the Spanish conquest and changes during the more than three hundred years of Spanish rule. There are many such works for Mexico, often drawing on native-language documentation in Nahuatl, Only the most valuable low bulk products would be exported.
Agricultural export products
Cacao beans for chocolate emerged as an export product as Europeans developed a taste for sweetened chocolate. Another important export product was cochineal, a color-fast red dye made from dried insects living on cacti. It became the second-most valuable export from Spanish America after silver.
19th century
During the Napoleonic Peninsular War in Europe between France and Spain, assemblies called juntas were established to rule in the name of Ferdinand VII of Spain.
The Libertadores (Spanish and Portuguese for "Liberators") were the principal leaders of the Spanish American wars of independence. They were predominantly criollos (Americas-born people of European ancestry, mostly Spanish or Portuguese), bourgeois and influenced by liberalism and in some cases with military training in the mother country.
In 1809 the first declarations of independence from Spanish rule occurred in the Viceroyalty of Peru. The first two were in the Alto Perú, present-day Bolivia, at Charcas (present day Sucre, May 25), and La Paz (July 16); and the third in present-day Ecuador at Quito (August 10). In 1810 Mexico declared independence, with the Mexican War of Independence following for over a decade. In 1821 Treaty of Córdoba established Mexican independence from Spain and concluded the War. The Plan of Iguala was part of the peace treaty to establish a constitutional foundation for an independent Mexico.
These began a movement for colonial independence that spread to Spain's other colonies in the Americas. The ideas from the French and the American Revolution influenced the efforts. All of the colonies, except Cuba and Puerto Rico, attained independence by the 1820s. The British Empire offered support, wanting to end the Spanish monopoly on trade with its colonies in the Americas.
In 1898, the United States achieved victory in the Spanish–American War with Spain, ending the Spanish colonial era. Spanish possession and rule of its remaining colonies in the Americas ended in that year with its sovereignty transferred to the United States. The United States took occupation of Cuba, the Philippines, and Puerto Rico. Puerto Rico continues to be a possession of the United States, now officially continues as a self-governing unincorporated territory.
In popular culture
In the twentieth century, there have been a number of films depicting the life of Christopher Columbus. One in 1949 stars Frederic March as Columbus. With the 1992 commemoration (and critique) of Columbus, more cinematic and television depictions of the era appeared, including a TV miniseries with Gabriel Byrne as Columbus. Christopher Columbus: The Discovery (1992) has Georges Corroface as Columbus with Marlon Brando as Tomás de Torquemada and Tom Selleck as King Ferdinand and Rachel Ward as Queen Isabela. 1492: The Conquest of Paradise stars Gérard Depardieu as Columbus and Sigorney Weaver as Queen Isabel. A 2010 film, Even the Rain starring Gael García Bernal, is set in modern Cochabamba, Bolivia during the Cochabamba Water War, following a film crew shooting a controversial life of Columbus. A 1995 Bolivian-made film is in some ways similar to Even the Rain is To Hear the Birds Singing, with a modern film crew going to an indigenous settlement to shot a film about the Spanish conquest and end up replicating aspects of the conquest.
For the conquest of Mexico, a 2019 an eight-episode Mexican TV miniseries Hernán depicts the conquest of Mexico. Other notable historical figures in the production are Malinche, Cortés cultural translator, and other conquerors Pedro de Alvarado, Cristóbal de Olid, Bernal Díaz del Castillo. Showing the indigenous sides are Xicotencatl, a leader of the Spaniards' Tlaxcalan allies, and Aztec emperors Moctezuma II and Cuitlahuac. The story of Doña Marina, also known as Malinche, was the subject of a Mexican TV miniseries in 2018. A major production in Mexico was the 1998 film, The Other Conquest, which focuses on a Nahua in the post-conquest era and the evangelization of central Mexico.
The epic journey of Álvar Núñez Cabeza de Vaca has been portrayed in a 1991 feature-length Mexican film, Cabeza de Vaca. The similarly epic and dark journey of Lope de Aguirre was made into a film by Werner Herzog, Aguirre, the Wrath of God (1972), starring Klaus Kinsky.
The Mission was a 1996 film idealizing a Jesuit mission to the Guaraní in the territory disputed between Spain and Portugal. The film starred Robert De Niro, Jeremy Irons, and Liam Neeson and It won an Academy Award.
The life of seventeenth-century Mexican nun, Sor Juana Inés de la Cruz, renowned in her lifetime, has been portrayed in a 1990 Argentine film, I, the Worst of All and in a TV miniseries Juana Inés. Seventeenth-century Mexican trickster, Martín Garatuza was the subject of a late nineteenth-century novel by Mexican politician and writer, Vicente Riva Palacio. In the twentieth century, Garatuza's life was the subject of a 1935 film and a 1986 telenovela, Martín Garatuza.
For the independence era, the 2016 Bolivian-made film made about Mestiza independence leader Juana Azurduy de Padilla is part of the recent recognition of her role in the independence of Argentina and Bolivia.
Dominions
North America, Central America
Viceroyalty of New Spain (1535–1821)
Las Californias
Nuevo Reino de León
Territorio de Nutka
Nuevo Santander
Nueva Vizcaya
Santa Fe de Nuevo México
Nueva Extremadura
Nueva Galicia
Captaincy General of Guatemala
La Luisiana (until 1801).
Spanish Florida (until 1819).
Captaincy General of Cuba (until 1898)
Captaincy General of Puerto Rico (until 1898)
Santo Domingo (last Spanish rule 1861–1865)
Captaincy General of the Philippines (administered by New Spain from 1565 to 1821, then after Mexican independence transferred to and directly administered by Madrid until 1898)
South America
Viceroyalty of Perú (1542–1824)
Captaincy General of Chile (1541–1818)
Viceroyalty of New Granada (1717–1819)
Captaincy General of Venezuela
Viceroyalty of the Río de la Plata (1776–1814)
See also
Atlantic World
Cartography of Latin America
Castas
Spanish Empire
Spanish American Enlightenment
Black legend (Spain)
Hapsburg Spain
List of largest empires
Population history of indigenous peoples of the Americas
Valladolid debate
Viceroyalty of New Spain
Viceroyalty of Peru
Notes
References
Further reading
Altman, Ida and David Wheat, eds. The Spanish Caribbean and the Atlantic World in the Long Sixteenth Century. Lincoln: University of Nebraska Press 2019.
Brading, D. A., The First America: the Spanish Monarchy, Creole Patriots, and the Liberal State, 1492–1867 (Cambridge: Cambridge University Press, 1993).
Burkholder, Mark A. and Lyman L. Johnson. Colonial Latin America, 10th ed. Oxford University Press 2018.
Chipman, Donald E. and Joseph, Harriett Denise. Spanish Texas, 1519–1821. (Austin: University of Texas Press, 1992)
Clark, Larry R. Imperial Spain’s Failure to Colonize Southeast North America: 1513 - 1587 (TimeSpan Press 2017) updated edition to Spanish Attempts to Colonize Southeast North America (McFarland Publishing, 2010)
Elliott, J. H. Empires of the Atlantic World: Britain and Spain in America, 1492–1830 (New Haven: Yale University Press, 2007)
Gibson, Carrie. Empire's Crossroads: A History of the Caribbean from Columbus to the Present Day (New York: Grove Press, 2015)
Gibson, Carrie. El Norte: The Epic and Forgotten Story of Hispanic North America (New York: Atlantic Monthly Press, 2019)
Gibson, Charles. Spain in America. New York: Harper and Row 1966.
Goodwin, Robert. América: The Epic Story of Spanish North America, 1493-1898 (London: Bloomsbury Publishing, 2019)
Hanke, Lewis. The Spanish Struggle for Justice in the Conquest of America (Boston: Little, Brown, and Co., 1965).
Haring, Clarence H. The Spanish Empire in America (London: Oxford University Press, 1947)
Kamen, Henry. Empire: How Spain Became a World Power, 1492–1763 (HarperCollins, 2004)
Lockhart, James and Stuart B. Schwartz. Early Latin America: A History of Colonial Spanish America and Brazil. New York: Cambridge University Press 1983.
Merriman, Roger Bigelow. The Rise of the Spanish Empire in the Old World and in the New (4 Vol. London: Macmillan, 1918) online free
Portuondo, María M. Secret Science: Spanish Cosmography and the New World (Chicago: Chicago UP, 2009).
Restall, Matthew and Fernández-Armesto, Felipe. The Conquistadors: A Very Short Introduction (2012) excerpt and text search
Restall, Matthew and Kris Lane. Latin America in Colonial Times. New York: Cambridge University Press 2011.
Thomas, Hugh. Rivers of Gold: the rise of the Spanish Empire, from Columbus to Magellan (2005)
Weber, David J. The Spanish Frontier in North America (Yale University Press, 1992)
Historiography
Cañeque, Alejandro "The Political and Institutional History of Colonial Spanish America" History Compass (April 2013) 114 pp 280–291,
Herzog, Tamar (2018). "Indigenous Reducciones and Spanish Resettlement: Placing Colonial and European History in Dialogue". Ler Historia (72): 9-30. doi:10.4000/lerhistoria.3146. ISSN 0870-6182.
Weber, David J. "John Francis Bannon and the Historiography of the Spanish Borderlands: Retrospect and Prospect." Journal of the Southwest (1987): 331–363. See John Francis Bannon
Weber, David J. “The Spanish Borderlands, Historiography Redux.” The History Teacher, vol. 39, no. 1, 2005, pp. 43–56. JSTOR, online.
External links
Spanish Exploration and Conquest of North America
Spain in America (Edward Gaylord Bourne, 1904) 'Spain in America'
The Spanish Borderlands (Herbert E. Bolton, 1921) 'The Spanish Borderlands'
Indigenous Puerto Rico DNA evidence upsets established history
“The Political Force of Images,” Vistas: Visual Culture in Spanish America, 1520–1820.
Spanish exploration in the Age of Discovery
16th century in North America
16th century in Central America
16th century in South America
16th century in the Spanish Empire
History of indigenous peoples of the Americas
History of the Colony of Santo Domingo
Former empires
Americas
History of the Americas | false | [
"The Romans used provincial and local governments to govern conquered territories without having to rule them directly.\n\nAlthough Rome ruled a vast empire, it needed strikingly few imperial officials to run it. This relatively light ruling administrative overview was made possible by the tendency to leave to local government much administrative business and to private enterprise many of the tasks associated with governments in the modern world. Especially important within this system was the city, where the magistrates, councils, and assemblies of urban centers governed themselves and areas of the countryside around them. These cities could vary enormously both in population and territory from the tiny Greek poleis of several hundred citizens to the great metropoleis such as Alexandria or Antioch. Despite these differences, these cities shared certain governmental structures and were free, in varying degrees depending on the community’s status, to manage their own affairs.\n\nThere were also important differences in the statuses of communities, which were arranged in a hierarchy of prestige, with Roman coloniae at the top, followed by municipia (some of which had full citizen rights, others, the Latin rights), and cities that had no citizenship rights at all. Cities in this last group could be tribute-paying cities (civitates), free cities (civitates liberae), and free cities with treaties (civitates liberae et foederatae)\n\nColoniae\nRomans began founding coloniae in conquered territory for security, sending their own citizens out from Rome. In the earliest period, colonies fell into two classes, coloniae civium Romanorum (\"colonies of Roman citizens\") and coloniae Latinorum (\"colonies of Latins\"), depending on their respective political rights. At first, the establishment of a colony required that a law be passed in Rome in the popular assembly. During the civil discord of the late Republic and triumvirate, colonies were founded on the whim of dynasts such as Sulla and Julius Caesar without such a law.\n\nColonies were modeled closely on the Roman constitution, with roles being defined for magistrates, council, and assemblies. Colonists enjoyed full Roman citizenship and were thus extensions of Rome itself. Beginning in 118 BC in Gallia Narbonensis, colonies began to be established in Rome's provinces, and from this point onwards coloniae were especially used for settling demobilized soldiers and in programs of agrarian reform.\n\nMunicipia\nThe second most prestigious class of cities was the municipium (plural municipia). Municipia had originally been communities of non-citizens among Rome's Italic allies. Following the Social War, Roman citizenship was awarded to all Italy, with the result that a municipium was effectively now a community of citizens.\n\nThe category was also used in the provinces to describe cities that used Roman law but were not colonies.\n\nSources\nAbbott, F.F. and A.C. Johnson, Municipal Administration in the Roman Empire (Princeton: Princeton U.P., 1926).\nBurton, G. P. ‘Proconsuls, Assizes, and the Administration of Justice under the Empire’, Journal of Roman Studies 65 (1975), 92-106.\nLintott, A. W. Imperium Romanum: Politics and Administration (London and New York: Routledge, 1993).\nMillar, F. ‘Italy and the Roman Empire: Augustus to Constantine’, Phoenix 40 (1986), 295-318.\n\nAncient Roman government",
"This is a list of major cities in Madagascar with population (1993 census and 2018 census), region, and former province. These are listed in order of their 2018 population. Note that these are the populations of the cities themselves (i.e. administrative districts, except in the case of Ambovombe) and exclude the populations of suburban communes outside the cities; some of the communes adjacent to Antananarivo have more than 100,000 population themselves.\n\nSmaller cities and towns\nThis is an alphabetically-ordered list of smaller cities and towns in Madagascar with population (1993 census and 2001 estimate), region, and province.\n\nSee also\n List of cities in East Africa\n\nReferences\n\n Décret n° 95-381 du 26 mai 1995 portant classement des Communes en Communes urbaines ou en Communes rurales\n\nMadagascar, List of cities in\n \n \nMadagascar\nCities"
]
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[
"Spanish colonization of the Americas",
"Mexico",
"When did the colonization of Mexico begin?",
"The Spanish conquest of Mexico is generally understood to be the Spanish conquest of the Aztec Empire (1519-21) which was the base for later conquests of other regions.",
"What happened during this period?",
"Later conquests were protracted campaigns with less spectacular results than the conquest of the Aztecs.",
"What was so spectacular about the conquest of the Aztecs?",
"The victory over the Aztecs was relatively quick, from 1519 to 1521, and aided by his Tlaxcala and other allies from indigenous city-states or altepetl.",
"What else happened during this time?",
"These polities allied against the Aztec empire, to which they paid tribute following conquest or threat of conquest, leaving the city-states' political hierarchy and social structure in place.",
"Were these cities eventually conquered themselves?",
"I don't know."
]
| C_481aa00f10ba4a8c8e8950d309ce24a0_1 | What else happened around the time of the Aztec conquest? | 6 | Besides the Aztec conquest, what else happened around the time? | Spanish colonization of the Americas | The Spanish conquest of Mexico is generally understood to be the Spanish conquest of the Aztec Empire (1519-21) which was the base for later conquests of other regions. Later conquests were protracted campaigns with less spectacular results than the conquest of the Aztecs. The Spanish conquest of Yucatan, the Spanish conquest of Guatemala, the war of Mexico's west, and the Chichimeca War in northern Mexico expanded Spanish control over territory and indigenous populations. But not until the Spanish conquest of Peru was the conquest of the Aztecs matched in scope by the victory over the Inca empire in 1532. The Spanish conquest of the Aztec empire was led by Hernan Cortes. The victory over the Aztecs was relatively quick, from 1519 to 1521, and aided by his Tlaxcala and other allies from indigenous city-states or altepetl. These polities allied against the Aztec empire, to which they paid tribute following conquest or threat of conquest, leaving the city-states' political hierarchy and social structure in place. The Spanish conquest of Yucatan was a much longer campaign, from 1551 to 1697, against the Maya peoples in the Yucatan Peninsula of present-day Mexico and northern Central America. Hernan Cortes' landing ashore at present day Veracruz and founding the Spanish city there on April 22, 1519 marked the beginning of 300 years of Spanish hegemony over the region. The assertion of royal control over the Kingdom of New Spain and the initial Spanish conquerors took over a decade, with importance of the region meriting the creation of the Viceroyalty of New Spain. Established by Charles V in 1535, the first viceroy was Don Antonio de Mendoza. Spain colonized and exerted control of Alta California through the Spanish missions in California until the Mexican secularization act of 1833. CANNOTANSWER | CANNOTANSWER | The Spanish colonization of the Americas began under the Crown of Castile and was spearheaded by the Spanish conquistadors. The Americas were invaded and incorporated into the Spanish Empire, with the exception of Brazil, British America, and some small regions of South America and the Caribbean. The crown created civil and religious structures to administer the vast territory. The main motivations for colonial expansion were profit through resource extraction and the spread of Catholicism through indigenous conversions.
Beginning with the 1492 arrival of Christopher Columbus in the Caribbean and gaining control over more territory for over three centuries, the Spanish Empire would expand across the Caribbean Islands, half of South America, most of Central America and much of North America. It is estimated that during the colonial period (1492–1832), a total of 1.86 million Spaniards settled in the Americas, and a further 3.5 million immigrated during the post-colonial era (1850–1950); the estimate is 250,000 in the 16th century and most during the 18th century, as immigration was encouraged by the new Bourbon dynasty.
By contrast, the indigenous population plummeted by an estimated 80% in the first century and a half following Columbus's voyages, primarily through the spread of disease, forced labor and slavery for resource extraction, and missionization. This has been argued to be the first large-scale act of genocide in the modern era.
In the early 19th century, the Spanish American wars of independence resulted in the secession and subsequent division of most Spanish territories in the Americas, except for Cuba and Puerto Rico, which were lost to the United States in 1898, following the Spanish–American War. The loss of these territories ended Spanish rule in the Americas.
Imperial expansion
The expansion of Spain’s territory took place under the Catholic Monarchs Isabella of Castile, Queen of Castile and her husband King Ferdinand, King of Aragon, whose marriage marked the beginning of Spanish power beyond the Iberian peninsula. They pursued a policy of joint rule of their kingdoms and created the initial stage of a single Spanish monarchy, completed under the eighteenth-century Bourbon monarchs. The first expansion of territory was the conquest of the Muslim Emirate of Granada on January 1, 1492, the culmination of the Christian Reconquest of the Iberian peninsula, held by the Muslims since 711. On March 31, 1492, the Catholic Monarch ordered the expulsion of the Jews in Spain who refused to convert to Christianity. On October 12, 1492, Genoese mariner Christopher Columbus made landfall in the Western Hemisphere.
Even though Castile and Aragon were ruled jointly by their respective monarchs, they remained separate kingdoms so that when the Catholic Monarchs gave official approval for the plans for Columbus’s voyage to reach "the Indies" by sailing West, the funding came from the queen of Castile. The profits from Spanish expedition flowed to Castile. The Kingdom of Portugal authorized a series of voyages down the coast of Africa and when they rounded the southern tip, were able to sail to India and further east. Spain sought similar wealth, and authorized Columbus’s voyage sailing west. Once the Spanish settlement in the Caribbean occurred, Spain and Portugal formalized a division of the world between them in the 1494 Treaty of Tordesillas. The deeply pious Isabella saw the expansion of Spain's sovereignty inextricably paired with the evangelization of non-Christian peoples, the so-called “spiritual conquest” with the military conquest. Pope Alexander VI in a 4 May 1493 papal decree, Inter caetera, divided rights to lands in the Western Hemisphere between Spain and Portugal on the proviso that they spread Christianity. These formal arrangements between Spain and Portugal and the pope were ignored by other European powers.
General principles of expansion
The Spanish expansion has sometimes been succinctly summed up as "gold, glory, God." The search for material wealth, the enhancement of the conquerors' and the crown's position, and the expansion of Christianity. In the extension of Spanish sovereignty to its overseas territories, authority for expeditions (entradas) of discovery, conquest, and settlement resided in the monarchy. Expeditions required authorization by the crown, which laid out the terms of such expedition. Virtually all expeditions after the Columbus voyages, which were funded by the crown of Castile, were done at the expense of the leader of the expedition and its participants. Although often the participants, conquistadors, are now termed “soldiers”, they were not paid soldiers in ranks of an army, but rather soldiers of fortune, who joined an expedition with the expectation of profiting from it. The leader of an expedition, the adelantado was a senior with material wealth and standing who could persuade the crown to issue him a license for an expedition. He also had to attract participants to the expedition who staked their own lives and meager fortunes on the expectation of the expedition’s success. The leader of the expedition pledged the larger share of capital to the enterprise, which in many ways functioned as a commercial firm. Upon the success of the expedition, the spoils of war were divvied up in proportion to the amount a participant initially staked, with the leader receiving the largest share. Participants supplied their own armor and weapons, and those who had a horse received two shares, one for himself, the second recognizing the value of the horse as a machine of war. For the conquest era, two names of Spaniards are generally known because they led the conquests of high indigenous civilizations, Hernán Cortés, leader of the expedition that conquered the Aztecs of Central Mexico, and Francisco Pizarro, leader of the conquest of the Inca in Peru.
Caribbean islands and the Spanish Main
Until his dying day, Columbus was convinced that he had reached Asia, the Indies. From that misperception the Spanish called the indigenous peoples of the Americas, "Indians" (indios), lumping a multiplicity of civilizations, groups, and individuals into a single category. The Spanish royal government called its overseas possessions "The Indies" until its empire dissolved in the nineteenth century. Patterns set in this early period of exploration and colonization were to endure as Spain expanded further, even as the region became less important in the overseas empire after the conquests of Mexico and Peru.
In the Caribbean, there was no large-scale Spanish conquest of indigenous peoples, but there was indigenous resistance. Columbus made four voyages to the West Indies as the monarchs granted Columbus vast powers of governance over this unknown part of the world. The crown of Castile financed more of his trans-Atlantic journeys, a pattern they would not repeat elsewhere. Effective Spanish settlement began in 1493, when Columbus brought livestock, seeds, agricultural equipment. The first settlement of La Navidad, a crude fort built on his first voyage in 1492, had been abandoned by the time he returned in 1493. He then founded the settlement of La Isabela on the island they named Hispaniola (now divided into Haiti and the Dominican Republic).
Spanish explorations of other islands in the Caribbean and what turned out to be the mainland of South and Central America occupied them for over two decades. Columbus had promised that the region he now controlled held a huge treasure in the form of gold and spices. Spanish settlers found relatively dense populations of indigenous peoples, who were agriculturalists living in villages ruled by leaders not part of a larger integrated political system. For the Spanish, these populations were there for their exploitation, to supply their own settlements with foodstuffs, but more importantly for the Spanish, to extract mineral wealth or produce another valuable commodity for Spanish enrichment. The labor of dense populations of Tainos were allocated to Spanish settlers in an institution known as the encomienda, where particular indigenous settlements were awarded to individual Spaniards. There was surface gold found in early islands, and holders of encomiendas put the indigenous to work panning for it. For all practical purposes, this was slavery. Queen Isabel put an end to formal slavery, declaring the indigenous to be vassals of the crown, but Spaniards' exploitation continued. The Taino population on Hispaniola went from hundreds of thousands or millions –- the estimates by scholars vary widely—but in the mid-1490s, they were practically wiped out. Disease and overwork, disruption of family life and the agricultural cycle (which caused severe food shortages to Spaniards dependent on them) rapidly decimated the indigenous population. From the Spanish viewpoint, their source of labor and viability of their own settlements was at risk. After the collapse of the Taino population of Hispaniola, Spaniards took to slave raiding and settlement on nearby islands, including Cuba, Puerto Rico, and Jamaica, replicating the demographic catastrophe there as well.
Dominican friar Antonio de Montesinos denounced Spanish cruelty and abuse in a sermon in 1511, which comes down to us in the writings of Dominican friar Bartolomé de las Casas. In 1542 Las Casas wrote a damning account of this genocide, A Short Account of the Destruction of the Indies. It was translated quickly to English and became the basis for the anti-Spanish writings, collectively known as the Black Legend.
The first mainland explorations by Spaniards were followed by a phase of inland expeditions and conquest. In 1500 the city of Nueva Cádiz was founded on the island of Cubagua, Venezuela, followed by the founding of Santa Cruz by Alonso de Ojeda in present-day Guajira peninsula. Cumaná in Venezuela was the first permanent settlement founded by Europeans in the mainland Americas, in 1501 by Franciscan friars, but due to successful attacks by the indigenous people, it had to be refounded several times, until Diego Hernández de Serpa's foundation in 1569. The Spanish founded San Sebastián de Uraba in 1509 but abandoned it within the year. There is indirect evidence that the first permanent Spanish mainland settlement established in the Americas was Santa María la Antigua del Darién.
Spaniards spent over 25 years in the Caribbean where their initial high hopes of dazzling wealth gave way to continuing exploitation of disappearing indigenous populations, exhaustion of local gold mines, initiation of cane sugar cultivation as an export product, and importation of African slaves as a labor force. Spaniards continued to expand their presence in the circum-Caribbean region with expeditions. One was by Francisco Hernández de Córdoba in 1517, another by Juan de Grijalva in 1518, which brought promising news of possibilities there. Even by the mid-1510s, the western Caribbean was largely unexplored by Spaniards. A well-connected settler in Cuba, Hernán Cortés received authorization in 1519 by the governor of Cuba to form an expedition of exploration-only to this far western region. That expedition was to make world history.
Mexico
It wasn’t until Spanish expansion into modern-day Mexico that Spanish explorers were able to find wealth on the scale that they had been hoping for. Unlike Spanish expansion in the Caribbean, which involved limited armed combat and sometimes the participation of indigenous allies, the conquest of central Mexico was protracted and necessitated indigenous allies who chose to participate for their own purposes. The conquest of the Aztec empire involved the combined effort of armies from many indigenous allies, spearheaded by a small Spanish force of conquistadors. The Aztec empire was a fragile confederation of city-states. Spaniards persuaded the leaders of subordinate city-states and one city-state never conquered by the Aztecs, Tlaxcala, to join them in huge numbers, with thousands, perhaps tens of thousands of indigenous warriors. The conquest of central Mexico is one of the best-documented events in world history, with accounts by the expedition leader Hernán Cortés, many other Spanish conquistadors, including Bernal Díaz del Castillo, indigenous allies from the city-states altepetl of Tlaxcala, Texcoco, and Huexotzinco, but also importantly, the defeated of Tenochtitlan, the Aztec capital. What can be called the visions of the vanquished, indigenous accounts written in the sixteenth century, are a rare case of history being written by those other than the victors.
The capture of the Aztec emperor Moctezuma II by Cortés was not a brilliant stroke of innovation, but came from the playbook that the Spanish developed during their period in the Caribbean. The composition of the expedition was the standard pattern, with a senior leader, and participating men investing in the enterprise with the full expectation of rewards if they did not lose their lives. Cortés’s seeking indigenous allies was a typical tactic of warfare: divide and conquer. But the indigenous allies had much to gain by throwing off Aztec rule. For the Spaniards’ Tlaxcalan allies, their crucial support gained them enduring political legacy into the modern era, the Mexican state of Tlaxcala.
The conquest of central Mexico sparked further Spanish conquests, following the pattern of conquered and consolidated regions being the launching point for further expeditions. These were often led by secondary leaders, such as Pedro de Alvarado. Later conquests in Mexico were protracted campaigns with less spectacular results than the conquest of the Aztecs. The Spanish conquest of Yucatán, the Spanish conquest of Guatemala, the conquest of the Tarascans/Purépecha of Michoacan, the war of Mexico's west, and the Chichimeca War in northern Mexico expanded Spanish control over territory and indigenous populations. But not until the Spanish conquest of Peru was the conquest of the Aztecs matched in scope by the victory over the Inca empire in 1532.
Peru
In 1532 at the Battle of Cajamarca a group of Spaniards under Francisco Pizarro and their indigenous Andean Indian auxiliaries native allies ambushed and captured the Emperor Atahualpa of the Inca Empire. It was the first step in a long campaign that took decades of fighting to subdue the mightiest empire in the Americas. In the following years, Spain extended its rule over the Empire of the Inca civilization.
The Spanish took advantage of a recent civil war between the factions of the two brothers Emperor Atahualpa and Huáscar, and the enmity of indigenous nations the Incas had subjugated, such as the Huancas, Chachapoyas, and Cañaris. In the following years the conquistadors and indigenous allies extended control over Greater Andes Region. The Viceroyalty of Perú was established in 1542. The last Inca stronghold was conquered by the Spanish in 1572.
Peru was the last territory in the continent under Spanish rule, which ended on 9 December 1824 at the Battle of Ayacucho (Spanish rule continued until 1898 in Cuba and Puerto Rico).
Chile
Chile was explored by Spaniards based in Peru, where Spaniards found the fertile soil and mild climate attractive. The Mapuche people of Chile, whom the Spaniards called Araucanians, resisted fiercely. The Spanish did establish the settlement of Chile in 1541, founded by Pedro de Valdivia.
Southward colonization by the Spanish in Chile halted after the conquest of Chiloé Archipelago in 1567. This is thought to have been the result of an increasingly harsh climate to the south, and the lack of a populous and sedentary indigenous population to settle among for the Spanish in the fjords and channels of Patagonia. South of the Bío-Bío River the Mapuche successfully reversed colonization with the Destruction of the Seven Cities in 1599–1604. This Mapuche victory laid the foundation for the establishment of a Spanish-Mapuche frontier called La Frontera. Within this frontier the city of Concepción assumed the role of "military capital" of Spanish-ruled Chile. With a hostile indigenous population, no obvious mineral or other exploitable resources, and little strategic value, Chile was a fringe area of colonial Spanish America, hemmed in geographically by the Andes to the east, Pacific Ocean to the west, and indigenous to the south.
New Granada
Between 1537 and 1543, six Spanish expeditions entered highland Colombia, conquered the Muisca Confederation, and set up the New Kingdom of Granada (). Gonzalo Jiménez de Quesada was the leading conquistador with his brother Hernán second in command. It was governed by the president of the Audiencia of Bogotá, and comprised an area corresponding mainly to modern-day Colombia and parts of Venezuela. The conquistadors originally organized it as a captaincy general within the Viceroyalty of Peru. The crown established the audiencia in 1549. Ultimately, the kingdom became part of the Viceroyalty of New Granada first in 1717 and permanently in 1739. After several attempts to set up independent states in the 1810s, the kingdom and the viceroyalty ceased to exist altogether in 1819 with the establishment of Gran Colombia.
Venezuela
Venezuela was first visited by Europeans during the 1490s, when Columbus was in control of the region, and the region as a source for indigenous slaves for Spaniards in Cuba and Hispaniola, since the Spanish destruction of the local indigenous population. There were few permanent settlements, but Spaniards settled the coastal islands of Cubagua and Margarita to exploit the pearl beds. Western Venezuela’s history took an atypical direction in 1528, when Spain’s first Hapsburg monarch, Charles I granted rights to colonize to the German banking family of the Welsers. Charles sought to be elected Holy Roman Emperor and was willing to pay whatever it took to achieve that. He became deeply indebted to the German Welser and Fugger banking families. To satisfy his debts to the Welsers, he granted them the right to colonize and exploit western Venezuela, with the proviso that they found two towns with 300 settlers each and construct fortifications. They established the colony of Klein-Venedig in 1528. They founded the towns of Coro and Maracaibo. They were aggressive in making their investment pay, alienating the indigenous populations and Spaniards alike. Charles revoked the grant in 1545, ending the episode of German colonization.
Río de la Plata and Paraguay
Argentina was not conquered or later exploited in the grand fashion of central Mexico or Peru, since the indigenous population was sparse and there were no precious metals or other valuable resources. Although today Buenos Aires at the mouth of Río de la Plata is a major metropolis, it held no interest for Spaniards and the 1535-36 settlement failed and was abandoned by 1541. Pedro de Mendoza and Domingo Martínez de Irala, who led the original expedition, went inland and founded Asunción, Paraguay, which became the Spaniards' base. A second (and permanent) settlement was established in 1580 by Juan de Garay, who arrived by sailing down the Paraná River from Asunción, now the capital of Paraguay. Exploration from Peru resulted in the foundation of Tucumán in what is now northwest Argentina.
End of era of exploration
The spectacular conquests of central Mexico (1519–21) and Peru (1532) sparked Spaniards' hopes of finding yet another high civilization. Expeditions continued into the 1540s and regional capitals founded by the 1550s. Among the most notable expeditions are Hernando de Soto into southeast North America, leaving from Cuba (1539–42); Francisco Vázquez de Coronado to northern Mexico (1540–42), and Gonzalo Pizarro to Amazonia, leaving from Quito, Ecuador (1541–42). In 1561, Pedro de Ursúa led an expedition of some 370 Spanish (including women and children) into Amazonia to search for El Dorado. Far more famous now is Lope de Aguirre, who led a mutiny against Ursúa, who was murdered. Aguirre subsequently wrote a letter to Philip II bitterly complaining about the treatment of conquerors like himself in the wake of the assertion of crown control over Peru. An earlier expedition that left in 1527 was led by Pánfilo Naváez, who was killed early on. Survivors continued to travel among indigenous groups in the North American south and southwest until 1536. Álvar Núñez Cabeza de Vaca was one of four survivors of that expedition, writing an account of it. The crown later sent him to Asunción, Paraguay to be adelantado there. Expeditions continued to explore territories in hopes of finding another Aztec or Inca empire, with no further success. Francisco de Ibarra led an expedition from Zacatecas in northern New Spain, and founded Durango. Juan de Oñate, is sometimes referred to as "the Last Conquistador", expanded Spanish sovereignty over what is now New Mexico. Like previous conquistadors, Oñate engaged in widespread abuses of the Indian population. Shortly after founding Santa Fe, Oñate was recalled to Mexico City by the Spanish authorities. He was subsequently tried and convicted of cruelty to both natives and colonists and banished from New Mexico for life.
Factors affecting Spanish settlement
Two major factors affected the density of Spanish settlement in the long term. One was the presence or absence of dense, hierarchically organized indigenous populations that could be made to work. The other was the presence or absence of an exploitable resource for the enrichment of settlers. Best was gold, but silver was found in abundance.
The two main areas of Spanish settlement after 1550 were Mexico and Peru, the sites of the Aztec and Inca indigenous civilizations. Equally important, rich deposits of the valuable metal silver. Spanish settlement in Mexico “largely replicated the organization of the area in preconquest times” while in Peru, the center of the Incas was too far south, too remote, and at too high an altitude for the Spanish capital. The capital Lima was built near the Pacific coast. The capitals of Mexico and Peru, Mexico City and Lima came to have large concentrations of Spanish settlers and became the hubs of royal and ecclesiastical administration, large commercial enterprises and skilled artisans, and centers of culture. Although Spaniards had hoped to find vast quantities of gold, the discovery of large quantities of silver became the motor of the Spanish colonial economy, a major source of income for the Spanish crown, and transformed the international economy. Mining regions in both Mexico were remote, outside the zone of indigenous settlement in central and southern Mexico Mesoamerica, but mines in Zacatecas (founded 1548) and Guanajuato (founded 1548) were key hubs in the colonial economy. In Peru, silver was found in a single silver mountain, the Cerro Rico de Potosí, still producing silver in the 21st century. Potosí (founded 1545) was in the zone of dense indigenous settlement, so that labor could be mobilized on traditional patterns to extract the ore. An important element for productive mining was mercury for processing high-grade ore. Peru had a source in Huancavelica (founded 1572), while Mexico had to rely on mercury imported from Spain.
Establishment of early settlements
The Spanish founded towns in the Caribbean, on Hispaniola and Cuba, on a pattern that became spatially similar throughout Spanish America. A central plaza had the most important buildings on the four sides, especially buildings for royal officials and the main church. A checkerboard pattern radiated outward. Residences of the officials and elites were closest to the main square. Once on the mainland, where there were dense indigenous populations in urban settlements, the Spanish could build a Spanish settlement on the same site, dating its foundation to when that occurred. Often they erected a church on the site of an indigenous temple. They replicated the existing indigenous network of settlements, but added a port city. The Spanish network needed a port city so that inland settlements could be connected by sea to Spain. In Mexico, the Hernán Cortés and the men of his expedition founded of the port town of Veracruz in 1519 and constituted themselves as the town councilors, as a means to throw off the authority of the governor of Cuba, who did not authorize an expedition of conquest. start of the conquest of central Mexico; once the Aztec empire was toppled, they founded Mexico City on the ruins of the Aztec capital. Their central official and ceremonial area was built on top of Aztec palaces and temples. In Peru, Spaniards founded the city of Lima as their capital and its nearby port of Callao, rather than the high-altitude site of Cuzco, the center of Inca rule. Spaniards established a network of settlements in areas they conquered and controlled. Important ones include Santiago de Guatemala (1524); Puebla (1531); Querétaro (ca. 1531); Guadalajara (1531–42); Valladolid (now Morelia), (1529–41); Antequera (now Oaxaca(1525–29); Campeche (1541); and Mérida. In southern Central and South America, settlements were founded in Panama (1519); León, Nicaragua (1524); Cartagena (1532); Piura (1532); Quito (1534); Trujillo (1535); Cali (1537) Bogotá (1538); Quito (1534); Cuzco 1534); Lima (1535); Tunja, (1539); Huamanga 1539; Arequipa (1540); Santiago de Chile (1544) and Concepción, Chile (1550). Settled from the south were Buenos Aires (1536, 1580); Asunción (1537); Potosí (1545); La Paz, Bolivia (1548); and Tucumán (1553).
Ecological conquests
The Columbian Exchange was as significant as the clash of civilizations. Arguably the most significant introduction was diseases brought to the Americas, which devastated indigenous populations in a series of epidemics. The loss of indigenous population had a direct impact on Spaniards as well, since increasingly they saw those populations as a source of their own wealth, disappearing before their eyes.
In the first settlements in the Caribbean, the Spaniards deliberately brought animals and plants that transformed the ecological landscape. Pigs, cattle, sheep, goats, and chickens allowed Spaniards to eat a diet with which they were familiar. But the importation of horses transformed warfare for both the Spaniards and the indigenous. Where the Spaniards had exclusive access to horses in warfare, they had an advantage over indigenous warriors on foot. They were initially a scarce commodity, but horse breeding became an active industry. Horses that escaped Spanish control were captured by indigenous; many indigenous also raided for horses. Mounted indigenous warriors were significant foes for Spaniards. The Chichimeca in northern Mexico, the Comanche in the northern Great Plains and the Mapuche in southern Chile and the pampas of Argentina resisted Spanish conquest. For Spaniards, the fierce Chichimecas barred them for exploiting mining resources in northern Mexico. Spaniards waged a fifty-year war (ca. 1550-1600) to subdue them, but peace was only achieved by Spaniards’ making significant donations of food and other commodities the Chichimeca demanded. "Peace by purchase" ended the conflict. In southern Chile and the pampas, the Araucanians (Mapuche) prevented further Spanish expansion. The image of mounted Araucanians capturing and carrying off white women was the embodiment of Spanish ideas of civilization and barbarism.
Cattle multiplied quickly in areas where little else could turn a profit for Spaniards, including northern Mexico and the Argentine pampas. The introduction of sheep production was an ecological disaster in places where they were raised in great numbers, since they ate vegetation to the ground, preventing the regeneration of plants.
The Spanish brought new crops for cultivation. They preferred wheat cultivation to indigenous sources of carbohydrates: casava, maize (corn), and potatoes, initially importing seeds from Europe and planting in areas where plow agriculture could be utilized, such as the Mexican Bajío. They also imported cane sugar, which was a high-value crop in early Spanish America. Spaniards also imported citrus trees, establishing orchards of oranges, lemons, and limes, and grapefruit. Other imports were figs, apricots, cherries, pears, and peaches among others. The exchange did not go one way. Important indigenous crops that transformed Europe were the potato and maize, which produced abundant crops that led to the expansion of populations in Europe. Chocolate (Nahuatl: chocolate) and vanilla were cultivated in Mexico and exported to Europe. Among the foodstuffs that became staples in European cuisine and could be grown there were tomatoes, squashes, bell peppers, and to a lesser extent in Europe chili peppers; also nuts of various kinds: Walnuts, cashews, pecans, and peanuts.
Civil governance
The empire in the Indies was a newly established dependency of the kingdom of Castile alone, so crown power was not impeded by any existing cortes (i.e. parliament), administrative or ecclesiastical institution, or seigneurial group. The crown sought to establish and maintain control over its overseas possessions through a complex, hierarchical bureaucracy, which in many ways was decentralized. The crown asserted is authority and sovereignty of the territory and vassals it claimed, collected taxes, maintained public order, meted out justice, and established policies for governance of large indigenous populations. Many institutions established in Castile found expression in The Indies from the early colonial period. Spanish universities expanded to train lawyer-bureaucrats (letrados) for administrative positions in Spain and its overseas empire.
The end of the Habsburg dynasty in 1700 saw major administrative reforms in the eighteenth century under the Bourbon monarchy, starting with the first Spanish Bourbon monarch, Philip V (r. 1700-1746) and reaching its apogee under Charles III (r. 1759-1788). The reorganization of administration has been called "a revolution in government." Reforms sought to centralize government control through reorganization of administration, reinvigorate the economies of Spain and the Spanish empire through changes in mercantile and fiscal policies, defend Spanish colonies and territorial claims through the establishment of a standing military, undermine the power of the Catholic church, and rein in the power of the American-born elites.
Early institutions of governance
The crown relied on ecclesiastics as important councilors and royal officials in the governance of their overseas territories. Archbishop Juan Rodríguez de Fonseca, Isabella's confessor, was tasked with reining in Columbus's independence. He strongly influenced the formulation of colonial policy under the Catholic Monarchs, and was instrumental in establishing the Casa de Contratación (House of Trade) (1503), which enabled crown control over trade and immigration. Ovando fitted out Magellan's voyage of circumnavigation, and became the first President of the Council of the Indies in 1524. Ecclesiastics also functioned as administrators overseas in the early Caribbean period, particularly Frey Nicolás de Ovando, who was sent to investigate the administration of Francisco de Bobadilla, the governor appointed to succeed Christopher Columbus. Later ecclesiastics served as interim viceroys, general inspectors (visitadores), and other high posts.
House of Trade
The crown established control over trade and emigration to the Indies with the 1503 establishment the Casa de Contratación (House of Trade) in Seville. Ships and cargoes were registered, and emigrants vetted to prevent migration of anyone not of old Christian heritage, (i.e., with no Jewish or Muslim ancestry), and facilitated the migration of families and women. In addition, the Casa de Contratación took charge of the fiscal organization, and of the organization and judicial control of the trade with the Indies.
Assertion of royal control in the early Caribbean
The politics of asserting royal authority to oppose Columbus resulted in the suppression of his privileges and the creation of territorial governance under royal authority. These governorates, also called as provinces, were the basic of the territorial government of the Indies, and arose as the territories were conquered and colonized. To carry out the expedition (entrada), which entailed exploration, conquest, and initial settlement of the territory, the king, as sovereign, and the appointed leader of an expedition (adelantado) agreed to an itemized contract (capitulación), with the specifics of the conditions of the expedition in a particular territory. The individual leaders of expeditions assumed the expenses of the venture and in return received as reward the grant from the government of the conquered territories; and in addition, they received instructions about treating the indigenous peoples.
After the end of the period of conquests, it was necessary to manage extensive and different territories with a strong bureaucracy. In the face of the impossibility of the Castilian institutions to take care of the New World affairs, other new institutions were created.
As the basic political entity it was the governorate, or province. The governors exercised judicial ordinary functions of first instance, and prerogatives of government legislating by ordinances. To these political functions of the governor, it could be joined the military ones, according to military requirements, with the rank of Captain general. The office of captain general involved to be the supreme military chief of the whole territory and he was responsible for recruiting and providing troops, the fortification of the territory, the supply and the shipbuilding.
Beginning in 1522 in the newly conquered Mexico, government units in the Spanish Empire had a royal treasury controlled by a set of oficiales reales (royal officials). There were also sub-treasuries at important ports and mining districts. The officials of the royal treasury at each level of government typically included two to four positions: a tesorero (treasurer), the senior official who guarded money on hand and made payments; a contador (accountant or comptroller), who recorded income and payments, maintained records, and interpreted royal instructions; a factor, who guarded weapons and supplies belonging to the king, and disposed of tribute collected in the province; and a veedor (overseer), who was responsible for contacts with native inhabitants of the province, and collected the king's share of any war booty. The veedor, or overseer, position quickly disappeared in most jurisdictions, subsumed into the position of factor. Depending on the conditions in a jurisdiction, the position of factor/veedor was often eliminated, as well.
The treasury officials were appointed by the king, and were largely independent of the authority of the viceroy, audiencia president or governor. On the death, unauthorized absence, retirement or removal of a governor, the treasury officials would jointly govern the province until a new governor appointed by the king could take up his duties. Treasury officials were supposed to be paid out of the income from the province, and were normally prohibited from engaging in income-producing activities.
Spanish law and indigenous peoples
The protection of the indigenous populations from enslavement and exploitation by Spanish settlers were established in the Laws of Burgos, 1512–1513. The laws were the first codified set of laws governing the behavior of Spanish settlers in the Americas, particularly with regards to treatment of native Indians in the institution of the encomienda. They forbade the maltreatment of natives, and endorsed the Indian Reductions with attempts of conversion to Catholicism. Upon their failure to effectively protect the indigenous and following the Spanish conquest of the Aztec Empire and the Spanish conquest of Peru, more stringent laws to control conquerors' and settlers' exercise of power, especially their maltreatment of the indigenous populations, were promulgated, known as the New Laws (1542). The crown aimed to prevent the formation of an aristocracy in the Indies not under crown control.
Queen Isabel was the first monarch that laid the first stone for the protection of the indigenous peoples in her testament in which the Catholic monarch prohibited the enslavement of the indigenous peoples of the Americas. Then the first such in 1542; the legal thought behind them was the basis of modern International law.
The Valladolid debate (1550–1551) was the first moral debate in European history to discuss the rights and treatment of a colonized people by colonizers. Held in the Colegio de San Gregorio, in the Spanish city of Valladolid, it was a moral and theological debate about the colonization of the Americas, its justification for the conversion to Catholicism and more specifically about the relations between the European settlers and the natives of the New World. It consisted of a number of opposing views about the way natives were to be integrated into colonial life, their conversion to Christianity and their rights and obligations. According to the French historian Jean Dumont The Valladolid debate was a major turning point in world history “In that moment in Spain appeared the dawn of the human rights”.
The indigenous populations in the Caribbean became the focus of the crown in its roles as sovereigns of the empire and patron of the Catholic Church. Spanish conquerors holding grants of indigenous labor in encomienda ruthlessly exploited them. A number of friars in the early period came to the vigorous defense of the indigenous populations, who were new converts to Christianity. Prominent Dominican friars in Santo Domingo, especially Antonio de Montesinos and Bartolomé de Las Casas denounced the maltreatment and pressed the crown to act to protect the indigenous populations. The crown enacted Laws of Burgos (1513) and the Requerimiento to curb the power of the Spanish conquerors and give indigenous populations the opportunity to peacefully embrace Spanish authority and Christianity. Neither was effective in its purpose. Las Casas was officially appointed Protector of the Indians and spent his life arguing forcefully on their behalf. The New Laws of 1542 were the result, limiting the power of encomenderos, the private holders of grants to indigenous labor previously held in perpetuity. The crown was open to limiting the inheritance of encomiendas in perpetuity as a way to extinguish the coalescence of a group of Spaniards impinging on royal power. In Peru, the attempt of the newly appointed viceroy, Blasco Núñez Vela, to implement the New Laws so soon after the conquest sparked a revolt by conquerors against the viceroy and the viceroy was killed in 1546. In Mexico, Don Martín Cortés, the son and legal heir of conqueror Hernán Cortés, and other heirs of encomiendas led a failed revolt against the crown. Don Martín was sent into exile, while other conspirators were executed.
Indigenous peoples and colonial rule
The conquest of the Aztec and Inca empires ended their sovereignty over their respective territorial expanses, replaced by the Spanish Empire. However, the Spanish Empire could not have ruled these vast territories and dense indigenous populations without utilizing the existing indigenous political and economic structures at the local level. A key to this was the cooperation between most indigenous elites with the new ruling structure. The Spanish recognized indigenous elites as nobles and gave them continuing standing in their communities. Indigenous elites could use the noble titles don and doña, were exempt from the head-tax, and could entail their landholdings into cacicazgos. These elites played an intermediary role between the Spanish rulers and indigenous commoners. Since in central and southern Mexico (Mesoamerica) and the highland Andes indigenous peoples had existing traditions of payment of tribute and required labor service, the Spanish could tap into these systems to extract wealth. There were few Spaniards and huge indigenous populations, so utilizing indigenous intermediaries was a practical solution to the incorporation of the indigenous population into the new regime of rule. By maintaining hierarchical divisions within communities, indigenous noblemen were the direct interface between the indigenous and Spanish spheres and kept their positions so long as they continued to be loyal to the Spanish crown.
The exploitation and demographic catastrophe that indigenous peoples experienced from Spanish rule in the Caribbean also occurred
as Spaniards expanded their control over territories and their indigenous populations. The crown set the indigenous communities legally apart from Spaniards (as well as Blacks), who comprised the República de Españoles, with the creation of the República de Indios. The crown attempted to curb Spaniards' exploitation, banning Spaniards' bequeathing their private grants of indigenous communities' tribute and encomienda labor in 1542 in the New Laws. In Mexico, the crown established the General Indian Court (Juzgado General de Indios), which heard disputes affecting individual indigenous as well as indigenous communities. Lawyers for these cases were funded by a half-real tax, an early example of legal aid for the poor. A similar legal apparatus was set up in Lima.
The Spaniards systematically attempted to transform structures of indigenous governance to those more closely resembling those of Spaniards, so the indigenous city-state became a Spanish town and the indigenous noblemen who ruled became officeholders of the town council (cabildo). Although the structure of the indigenous cabildo looked similar to that of the Spanish institution, its indigenous functionaries continued to follow indigenous practices. In central Mexico, there exist minutes of the sixteenth-century meetings in Nahuatl of the Tlaxcala cabildo. Indigenous noblemen were particularly important in the early period of colonization, since the economy of the encomienda was initially built on the extraction of tribute and labor from the commoners in their communities. As the colonial economy became more diversified and less dependent on these mechanisms for the accumulation of wealth, the indigenous noblemen became less important for the economy. However, noblemen became defenders of the rights to land and water controlled by their communities. In colonial Mexico, there are petitions to the king about a variety of issues important to particular indigenous communities when the noblemen did not get a favorable response from the local friar or priest or local royal officials.
Works by historians in the twentieth and twenty-first centuries have expanded the understanding of the impact of the Spanish conquest and changes during the more than three hundred years of Spanish rule. There are many such works for Mexico, often drawing on native-language documentation in Nahuatl, Only the most valuable low bulk products would be exported.
Agricultural export products
Cacao beans for chocolate emerged as an export product as Europeans developed a taste for sweetened chocolate. Another important export product was cochineal, a color-fast red dye made from dried insects living on cacti. It became the second-most valuable export from Spanish America after silver.
19th century
During the Napoleonic Peninsular War in Europe between France and Spain, assemblies called juntas were established to rule in the name of Ferdinand VII of Spain.
The Libertadores (Spanish and Portuguese for "Liberators") were the principal leaders of the Spanish American wars of independence. They were predominantly criollos (Americas-born people of European ancestry, mostly Spanish or Portuguese), bourgeois and influenced by liberalism and in some cases with military training in the mother country.
In 1809 the first declarations of independence from Spanish rule occurred in the Viceroyalty of Peru. The first two were in the Alto Perú, present-day Bolivia, at Charcas (present day Sucre, May 25), and La Paz (July 16); and the third in present-day Ecuador at Quito (August 10). In 1810 Mexico declared independence, with the Mexican War of Independence following for over a decade. In 1821 Treaty of Córdoba established Mexican independence from Spain and concluded the War. The Plan of Iguala was part of the peace treaty to establish a constitutional foundation for an independent Mexico.
These began a movement for colonial independence that spread to Spain's other colonies in the Americas. The ideas from the French and the American Revolution influenced the efforts. All of the colonies, except Cuba and Puerto Rico, attained independence by the 1820s. The British Empire offered support, wanting to end the Spanish monopoly on trade with its colonies in the Americas.
In 1898, the United States achieved victory in the Spanish–American War with Spain, ending the Spanish colonial era. Spanish possession and rule of its remaining colonies in the Americas ended in that year with its sovereignty transferred to the United States. The United States took occupation of Cuba, the Philippines, and Puerto Rico. Puerto Rico continues to be a possession of the United States, now officially continues as a self-governing unincorporated territory.
In popular culture
In the twentieth century, there have been a number of films depicting the life of Christopher Columbus. One in 1949 stars Frederic March as Columbus. With the 1992 commemoration (and critique) of Columbus, more cinematic and television depictions of the era appeared, including a TV miniseries with Gabriel Byrne as Columbus. Christopher Columbus: The Discovery (1992) has Georges Corroface as Columbus with Marlon Brando as Tomás de Torquemada and Tom Selleck as King Ferdinand and Rachel Ward as Queen Isabela. 1492: The Conquest of Paradise stars Gérard Depardieu as Columbus and Sigorney Weaver as Queen Isabel. A 2010 film, Even the Rain starring Gael García Bernal, is set in modern Cochabamba, Bolivia during the Cochabamba Water War, following a film crew shooting a controversial life of Columbus. A 1995 Bolivian-made film is in some ways similar to Even the Rain is To Hear the Birds Singing, with a modern film crew going to an indigenous settlement to shot a film about the Spanish conquest and end up replicating aspects of the conquest.
For the conquest of Mexico, a 2019 an eight-episode Mexican TV miniseries Hernán depicts the conquest of Mexico. Other notable historical figures in the production are Malinche, Cortés cultural translator, and other conquerors Pedro de Alvarado, Cristóbal de Olid, Bernal Díaz del Castillo. Showing the indigenous sides are Xicotencatl, a leader of the Spaniards' Tlaxcalan allies, and Aztec emperors Moctezuma II and Cuitlahuac. The story of Doña Marina, also known as Malinche, was the subject of a Mexican TV miniseries in 2018. A major production in Mexico was the 1998 film, The Other Conquest, which focuses on a Nahua in the post-conquest era and the evangelization of central Mexico.
The epic journey of Álvar Núñez Cabeza de Vaca has been portrayed in a 1991 feature-length Mexican film, Cabeza de Vaca. The similarly epic and dark journey of Lope de Aguirre was made into a film by Werner Herzog, Aguirre, the Wrath of God (1972), starring Klaus Kinsky.
The Mission was a 1996 film idealizing a Jesuit mission to the Guaraní in the territory disputed between Spain and Portugal. The film starred Robert De Niro, Jeremy Irons, and Liam Neeson and It won an Academy Award.
The life of seventeenth-century Mexican nun, Sor Juana Inés de la Cruz, renowned in her lifetime, has been portrayed in a 1990 Argentine film, I, the Worst of All and in a TV miniseries Juana Inés. Seventeenth-century Mexican trickster, Martín Garatuza was the subject of a late nineteenth-century novel by Mexican politician and writer, Vicente Riva Palacio. In the twentieth century, Garatuza's life was the subject of a 1935 film and a 1986 telenovela, Martín Garatuza.
For the independence era, the 2016 Bolivian-made film made about Mestiza independence leader Juana Azurduy de Padilla is part of the recent recognition of her role in the independence of Argentina and Bolivia.
Dominions
North America, Central America
Viceroyalty of New Spain (1535–1821)
Las Californias
Nuevo Reino de León
Territorio de Nutka
Nuevo Santander
Nueva Vizcaya
Santa Fe de Nuevo México
Nueva Extremadura
Nueva Galicia
Captaincy General of Guatemala
La Luisiana (until 1801).
Spanish Florida (until 1819).
Captaincy General of Cuba (until 1898)
Captaincy General of Puerto Rico (until 1898)
Santo Domingo (last Spanish rule 1861–1865)
Captaincy General of the Philippines (administered by New Spain from 1565 to 1821, then after Mexican independence transferred to and directly administered by Madrid until 1898)
South America
Viceroyalty of Perú (1542–1824)
Captaincy General of Chile (1541–1818)
Viceroyalty of New Granada (1717–1819)
Captaincy General of Venezuela
Viceroyalty of the Río de la Plata (1776–1814)
See also
Atlantic World
Cartography of Latin America
Castas
Spanish Empire
Spanish American Enlightenment
Black legend (Spain)
Hapsburg Spain
List of largest empires
Population history of indigenous peoples of the Americas
Valladolid debate
Viceroyalty of New Spain
Viceroyalty of Peru
Notes
References
Further reading
Altman, Ida and David Wheat, eds. The Spanish Caribbean and the Atlantic World in the Long Sixteenth Century. Lincoln: University of Nebraska Press 2019.
Brading, D. A., The First America: the Spanish Monarchy, Creole Patriots, and the Liberal State, 1492–1867 (Cambridge: Cambridge University Press, 1993).
Burkholder, Mark A. and Lyman L. Johnson. Colonial Latin America, 10th ed. Oxford University Press 2018.
Chipman, Donald E. and Joseph, Harriett Denise. Spanish Texas, 1519–1821. (Austin: University of Texas Press, 1992)
Clark, Larry R. Imperial Spain’s Failure to Colonize Southeast North America: 1513 - 1587 (TimeSpan Press 2017) updated edition to Spanish Attempts to Colonize Southeast North America (McFarland Publishing, 2010)
Elliott, J. H. Empires of the Atlantic World: Britain and Spain in America, 1492–1830 (New Haven: Yale University Press, 2007)
Gibson, Carrie. Empire's Crossroads: A History of the Caribbean from Columbus to the Present Day (New York: Grove Press, 2015)
Gibson, Carrie. El Norte: The Epic and Forgotten Story of Hispanic North America (New York: Atlantic Monthly Press, 2019)
Gibson, Charles. Spain in America. New York: Harper and Row 1966.
Goodwin, Robert. América: The Epic Story of Spanish North America, 1493-1898 (London: Bloomsbury Publishing, 2019)
Hanke, Lewis. The Spanish Struggle for Justice in the Conquest of America (Boston: Little, Brown, and Co., 1965).
Haring, Clarence H. The Spanish Empire in America (London: Oxford University Press, 1947)
Kamen, Henry. Empire: How Spain Became a World Power, 1492–1763 (HarperCollins, 2004)
Lockhart, James and Stuart B. Schwartz. Early Latin America: A History of Colonial Spanish America and Brazil. New York: Cambridge University Press 1983.
Merriman, Roger Bigelow. The Rise of the Spanish Empire in the Old World and in the New (4 Vol. London: Macmillan, 1918) online free
Portuondo, María M. Secret Science: Spanish Cosmography and the New World (Chicago: Chicago UP, 2009).
Restall, Matthew and Fernández-Armesto, Felipe. The Conquistadors: A Very Short Introduction (2012) excerpt and text search
Restall, Matthew and Kris Lane. Latin America in Colonial Times. New York: Cambridge University Press 2011.
Thomas, Hugh. Rivers of Gold: the rise of the Spanish Empire, from Columbus to Magellan (2005)
Weber, David J. The Spanish Frontier in North America (Yale University Press, 1992)
Historiography
Cañeque, Alejandro "The Political and Institutional History of Colonial Spanish America" History Compass (April 2013) 114 pp 280–291,
Herzog, Tamar (2018). "Indigenous Reducciones and Spanish Resettlement: Placing Colonial and European History in Dialogue". Ler Historia (72): 9-30. doi:10.4000/lerhistoria.3146. ISSN 0870-6182.
Weber, David J. "John Francis Bannon and the Historiography of the Spanish Borderlands: Retrospect and Prospect." Journal of the Southwest (1987): 331–363. See John Francis Bannon
Weber, David J. “The Spanish Borderlands, Historiography Redux.” The History Teacher, vol. 39, no. 1, 2005, pp. 43–56. JSTOR, online.
External links
Spanish Exploration and Conquest of North America
Spain in America (Edward Gaylord Bourne, 1904) 'Spain in America'
The Spanish Borderlands (Herbert E. Bolton, 1921) 'The Spanish Borderlands'
Indigenous Puerto Rico DNA evidence upsets established history
“The Political Force of Images,” Vistas: Visual Culture in Spanish America, 1520–1820.
Spanish exploration in the Age of Discovery
16th century in North America
16th century in Central America
16th century in South America
16th century in the Spanish Empire
History of indigenous peoples of the Americas
History of the Colony of Santo Domingo
Former empires
Americas
History of the Americas | false | [
"Aztec philosophy was a school of philosophy that developed out of Aztec culture. The Aztecs had a well-developed school of philosophy, perhaps the most developed in the Americas and in many ways comparable to Ancient Greek philosophy, even amassing more texts than the ancient Greeks. Aztec cosmology was in some sense dualistic, but exhibited a less common form of it known as dialectical monism. Aztec philosophy also included ethics and aesthetics. It has been asserted that the central question in Aztec philosophy was how people can find stability and balance in an ephemeral world.\n\nBeliefs \nAztec philosophy saw the concept of Ometeotl as a unity that underlies the universe. Ometeotl forms, shapes, and is all things. Even things in opposition—light, and dark, life and death—were seen as expressions of the same unity, Ometeotl. The belief in a unity with dualistic expressions compares with similar dialectical monist ideas in both Western and Eastern philosophies.\n\nRelation to Aztec religion \nAztec priests had a panentheistic view of religion but the popular Aztec religion maintained polytheism. Priests saw the different gods as aspects of the singular and transcendent unity of Teotl but the masses were allowed to practice polytheism without understanding the true, unified nature of their Aztec gods.\n\nMoral beliefs and aesthetics \nAztec philosophers focused on morality as establishing balance. The world was seen as constantly shifting with the ever-changing teotl. Morality focused on finding the path to living a balanced life, which would provide stability in the shifting world.\n\nAztec philosophy saw the arts as a way to express the true nature of teotl. Art was considered to be good if it in some way brought about a better understanding of teotl. Aztec poetry was closely tied to philosophy and often used to express philosophic concepts. Below is an example of such a poem, translated from the original Nahuatl:\n\nNo one comes on this earth to stay\nOur bodies are like rose trees - \nThey grow petals then wither and die.\nBut our hearts are like grass in the springtime,\nThey live on and forever grow green again.\n\nHow did the Aztecs regard \"time\"?\nJames Maffie has explained that the Aztec concept of time (like that of the Mayas) was not one of 'uniform forward flow' whose passage could be accurately measured by a clock or some similar device.\n\nSpecific events were regarded as separate, unique entities, only minimally related to those which had occurred immediately before them or to those which followed straight afterwards. Of paramount importance were the positions which they happened to occupy in the 260-day and 360+5-day calendar counts. Also significant were the 584-day Venusian cycle, and indeed the \"age-growth cycles\" of the people involved (which extended from birth through to old age).\n\nTexts\nThere is a dearth of material from which Aztec philosophy can be studied with a majority of extant texts written after conquest by either Spanish colonists and missionaries, or Christianised Spanish educated natives. The conquistadors burned most Aztec (and Mayan) texts. Pre-conquest sources include the Codex Borgia and the Codex Borbonicus (written about the time of conquest). Post-conquest texts include the Florentine Codex, Codex Mendoza and the Codex Magliabechiano, including others.\n\nSee also\n\n Tlacaelel\n Government of the Aztec Empire\n Indigenous American philosophy\n Mesoamerican literature\n\nReferences\n\nSources\n Maffie, James; Aztec Philosophy: Understanding a World in Motion; 2014 : NDPReview.\n Leon-Portilla, Miguel; Native Mesoamerican Spirituality; Jun 27 2002.\n Leon-Portilla, Miguel; Aztec Thought and Culture: A Study of the Ancient Nahuatl Mind; 1990.\n Leon-Portilla, Miguel; Fifteen Poets of the Aztec World; October 15, 2000.\n\nExternal Links \n The Mesoamerican Philosophy Renaissance\n\nPhilosophy\nPhilosophy\nLatin American culture\nMedieval philosophy\nIndigenous American philosophy\nHistory of indigenous peoples of North America",
"The Narrative of Some Things of New Spain and of the Great City of Temestitan is one of the sources for the Spanish conquest of the Aztec Empire dating from the 16th century, one of the many surviving contemporary Spanish accounts from the period of the Spanish conquest of the Aztec Empire and central Mexico (1519–1521). However, unlike conqueror accounts which highlight individual deeds worthy of rewards from the Spanish crown (a genre called probanzas or relaciones de méritos y servicios, the Anonymous Conqueror's account is descriptive of indigenous life at the time of the conquest.\n\nThe author of the document is unknown, and is referred to as a Companion of Hernán Cortés (or simply \"The Anonymous Conqueror\" or \"Gentleman of Cortés\"). The account, firstly published in Italian in 1556 by Giovan Battista Ramuso as part of his work \"Delle Navigationi et Viaggi\", has been translated to English in Patricia de Fuente's 1993 University of Oklahoma Press publication, The Conquistadors: First-person Accounts of the Conquest of Mexico.\n\nThe Narrative provides descriptions of the life and culture of the pre-Columbian Aztec/Mexica and surrounding peoples of the Valley of Mexico, as they were first encountered by the expedition of Conquistadores under Hernán Cortés. This narrative describes everything from the land and animals, to military concerns, to food and drink, to religion and government, to architecture and beyond. Historians are divided as to whether the Narrative is a genuine narrative or merely based on reports from returning Conquistadors. It also contains information on the weapons of the Aztecs in comparison to those of the Spaniards.\n\nSee also\n Spanish conquest of the Aztec Empire\n The Conquest of New Spain, by Bernal Díaz del Castillo\n\nReferences\n\nExternal links\n Narrative of Some Things of New Spain and of the Great City of Temestitan, México Text of Marshall Saville's 1917 translation, reproduced online at FAMSI (ed. Alec Christensen) \n\nColonial Mexico\nSpanish-language literature about Mesoamerica\nHistory of the Aztecs\n16th-century books\nWorks of unknown authorship"
]
|
[
"Spanish colonization of the Americas",
"Mexico",
"When did the colonization of Mexico begin?",
"The Spanish conquest of Mexico is generally understood to be the Spanish conquest of the Aztec Empire (1519-21) which was the base for later conquests of other regions.",
"What happened during this period?",
"Later conquests were protracted campaigns with less spectacular results than the conquest of the Aztecs.",
"What was so spectacular about the conquest of the Aztecs?",
"The victory over the Aztecs was relatively quick, from 1519 to 1521, and aided by his Tlaxcala and other allies from indigenous city-states or altepetl.",
"What else happened during this time?",
"These polities allied against the Aztec empire, to which they paid tribute following conquest or threat of conquest, leaving the city-states' political hierarchy and social structure in place.",
"Were these cities eventually conquered themselves?",
"I don't know.",
"What else happened around the time of the Aztec conquest?",
"I don't know."
]
| C_481aa00f10ba4a8c8e8950d309ce24a0_1 | What else is interesting? | 7 | Besides the Aztec conquest, what else is interesting? | Spanish colonization of the Americas | The Spanish conquest of Mexico is generally understood to be the Spanish conquest of the Aztec Empire (1519-21) which was the base for later conquests of other regions. Later conquests were protracted campaigns with less spectacular results than the conquest of the Aztecs. The Spanish conquest of Yucatan, the Spanish conquest of Guatemala, the war of Mexico's west, and the Chichimeca War in northern Mexico expanded Spanish control over territory and indigenous populations. But not until the Spanish conquest of Peru was the conquest of the Aztecs matched in scope by the victory over the Inca empire in 1532. The Spanish conquest of the Aztec empire was led by Hernan Cortes. The victory over the Aztecs was relatively quick, from 1519 to 1521, and aided by his Tlaxcala and other allies from indigenous city-states or altepetl. These polities allied against the Aztec empire, to which they paid tribute following conquest or threat of conquest, leaving the city-states' political hierarchy and social structure in place. The Spanish conquest of Yucatan was a much longer campaign, from 1551 to 1697, against the Maya peoples in the Yucatan Peninsula of present-day Mexico and northern Central America. Hernan Cortes' landing ashore at present day Veracruz and founding the Spanish city there on April 22, 1519 marked the beginning of 300 years of Spanish hegemony over the region. The assertion of royal control over the Kingdom of New Spain and the initial Spanish conquerors took over a decade, with importance of the region meriting the creation of the Viceroyalty of New Spain. Established by Charles V in 1535, the first viceroy was Don Antonio de Mendoza. Spain colonized and exerted control of Alta California through the Spanish missions in California until the Mexican secularization act of 1833. CANNOTANSWER | The Spanish conquest of Yucatan was a much longer campaign, from 1551 to 1697, against the Maya peoples in the Yucatan Peninsula of present-day Mexico and northern Central America. | The Spanish colonization of the Americas began under the Crown of Castile and was spearheaded by the Spanish conquistadors. The Americas were invaded and incorporated into the Spanish Empire, with the exception of Brazil, British America, and some small regions of South America and the Caribbean. The crown created civil and religious structures to administer the vast territory. The main motivations for colonial expansion were profit through resource extraction and the spread of Catholicism through indigenous conversions.
Beginning with the 1492 arrival of Christopher Columbus in the Caribbean and gaining control over more territory for over three centuries, the Spanish Empire would expand across the Caribbean Islands, half of South America, most of Central America and much of North America. It is estimated that during the colonial period (1492–1832), a total of 1.86 million Spaniards settled in the Americas, and a further 3.5 million immigrated during the post-colonial era (1850–1950); the estimate is 250,000 in the 16th century and most during the 18th century, as immigration was encouraged by the new Bourbon dynasty.
By contrast, the indigenous population plummeted by an estimated 80% in the first century and a half following Columbus's voyages, primarily through the spread of disease, forced labor and slavery for resource extraction, and missionization. This has been argued to be the first large-scale act of genocide in the modern era.
In the early 19th century, the Spanish American wars of independence resulted in the secession and subsequent division of most Spanish territories in the Americas, except for Cuba and Puerto Rico, which were lost to the United States in 1898, following the Spanish–American War. The loss of these territories ended Spanish rule in the Americas.
Imperial expansion
The expansion of Spain’s territory took place under the Catholic Monarchs Isabella of Castile, Queen of Castile and her husband King Ferdinand, King of Aragon, whose marriage marked the beginning of Spanish power beyond the Iberian peninsula. They pursued a policy of joint rule of their kingdoms and created the initial stage of a single Spanish monarchy, completed under the eighteenth-century Bourbon monarchs. The first expansion of territory was the conquest of the Muslim Emirate of Granada on January 1, 1492, the culmination of the Christian Reconquest of the Iberian peninsula, held by the Muslims since 711. On March 31, 1492, the Catholic Monarch ordered the expulsion of the Jews in Spain who refused to convert to Christianity. On October 12, 1492, Genoese mariner Christopher Columbus made landfall in the Western Hemisphere.
Even though Castile and Aragon were ruled jointly by their respective monarchs, they remained separate kingdoms so that when the Catholic Monarchs gave official approval for the plans for Columbus’s voyage to reach "the Indies" by sailing West, the funding came from the queen of Castile. The profits from Spanish expedition flowed to Castile. The Kingdom of Portugal authorized a series of voyages down the coast of Africa and when they rounded the southern tip, were able to sail to India and further east. Spain sought similar wealth, and authorized Columbus’s voyage sailing west. Once the Spanish settlement in the Caribbean occurred, Spain and Portugal formalized a division of the world between them in the 1494 Treaty of Tordesillas. The deeply pious Isabella saw the expansion of Spain's sovereignty inextricably paired with the evangelization of non-Christian peoples, the so-called “spiritual conquest” with the military conquest. Pope Alexander VI in a 4 May 1493 papal decree, Inter caetera, divided rights to lands in the Western Hemisphere between Spain and Portugal on the proviso that they spread Christianity. These formal arrangements between Spain and Portugal and the pope were ignored by other European powers.
General principles of expansion
The Spanish expansion has sometimes been succinctly summed up as "gold, glory, God." The search for material wealth, the enhancement of the conquerors' and the crown's position, and the expansion of Christianity. In the extension of Spanish sovereignty to its overseas territories, authority for expeditions (entradas) of discovery, conquest, and settlement resided in the monarchy. Expeditions required authorization by the crown, which laid out the terms of such expedition. Virtually all expeditions after the Columbus voyages, which were funded by the crown of Castile, were done at the expense of the leader of the expedition and its participants. Although often the participants, conquistadors, are now termed “soldiers”, they were not paid soldiers in ranks of an army, but rather soldiers of fortune, who joined an expedition with the expectation of profiting from it. The leader of an expedition, the adelantado was a senior with material wealth and standing who could persuade the crown to issue him a license for an expedition. He also had to attract participants to the expedition who staked their own lives and meager fortunes on the expectation of the expedition’s success. The leader of the expedition pledged the larger share of capital to the enterprise, which in many ways functioned as a commercial firm. Upon the success of the expedition, the spoils of war were divvied up in proportion to the amount a participant initially staked, with the leader receiving the largest share. Participants supplied their own armor and weapons, and those who had a horse received two shares, one for himself, the second recognizing the value of the horse as a machine of war. For the conquest era, two names of Spaniards are generally known because they led the conquests of high indigenous civilizations, Hernán Cortés, leader of the expedition that conquered the Aztecs of Central Mexico, and Francisco Pizarro, leader of the conquest of the Inca in Peru.
Caribbean islands and the Spanish Main
Until his dying day, Columbus was convinced that he had reached Asia, the Indies. From that misperception the Spanish called the indigenous peoples of the Americas, "Indians" (indios), lumping a multiplicity of civilizations, groups, and individuals into a single category. The Spanish royal government called its overseas possessions "The Indies" until its empire dissolved in the nineteenth century. Patterns set in this early period of exploration and colonization were to endure as Spain expanded further, even as the region became less important in the overseas empire after the conquests of Mexico and Peru.
In the Caribbean, there was no large-scale Spanish conquest of indigenous peoples, but there was indigenous resistance. Columbus made four voyages to the West Indies as the monarchs granted Columbus vast powers of governance over this unknown part of the world. The crown of Castile financed more of his trans-Atlantic journeys, a pattern they would not repeat elsewhere. Effective Spanish settlement began in 1493, when Columbus brought livestock, seeds, agricultural equipment. The first settlement of La Navidad, a crude fort built on his first voyage in 1492, had been abandoned by the time he returned in 1493. He then founded the settlement of La Isabela on the island they named Hispaniola (now divided into Haiti and the Dominican Republic).
Spanish explorations of other islands in the Caribbean and what turned out to be the mainland of South and Central America occupied them for over two decades. Columbus had promised that the region he now controlled held a huge treasure in the form of gold and spices. Spanish settlers found relatively dense populations of indigenous peoples, who were agriculturalists living in villages ruled by leaders not part of a larger integrated political system. For the Spanish, these populations were there for their exploitation, to supply their own settlements with foodstuffs, but more importantly for the Spanish, to extract mineral wealth or produce another valuable commodity for Spanish enrichment. The labor of dense populations of Tainos were allocated to Spanish settlers in an institution known as the encomienda, where particular indigenous settlements were awarded to individual Spaniards. There was surface gold found in early islands, and holders of encomiendas put the indigenous to work panning for it. For all practical purposes, this was slavery. Queen Isabel put an end to formal slavery, declaring the indigenous to be vassals of the crown, but Spaniards' exploitation continued. The Taino population on Hispaniola went from hundreds of thousands or millions –- the estimates by scholars vary widely—but in the mid-1490s, they were practically wiped out. Disease and overwork, disruption of family life and the agricultural cycle (which caused severe food shortages to Spaniards dependent on them) rapidly decimated the indigenous population. From the Spanish viewpoint, their source of labor and viability of their own settlements was at risk. After the collapse of the Taino population of Hispaniola, Spaniards took to slave raiding and settlement on nearby islands, including Cuba, Puerto Rico, and Jamaica, replicating the demographic catastrophe there as well.
Dominican friar Antonio de Montesinos denounced Spanish cruelty and abuse in a sermon in 1511, which comes down to us in the writings of Dominican friar Bartolomé de las Casas. In 1542 Las Casas wrote a damning account of this genocide, A Short Account of the Destruction of the Indies. It was translated quickly to English and became the basis for the anti-Spanish writings, collectively known as the Black Legend.
The first mainland explorations by Spaniards were followed by a phase of inland expeditions and conquest. In 1500 the city of Nueva Cádiz was founded on the island of Cubagua, Venezuela, followed by the founding of Santa Cruz by Alonso de Ojeda in present-day Guajira peninsula. Cumaná in Venezuela was the first permanent settlement founded by Europeans in the mainland Americas, in 1501 by Franciscan friars, but due to successful attacks by the indigenous people, it had to be refounded several times, until Diego Hernández de Serpa's foundation in 1569. The Spanish founded San Sebastián de Uraba in 1509 but abandoned it within the year. There is indirect evidence that the first permanent Spanish mainland settlement established in the Americas was Santa María la Antigua del Darién.
Spaniards spent over 25 years in the Caribbean where their initial high hopes of dazzling wealth gave way to continuing exploitation of disappearing indigenous populations, exhaustion of local gold mines, initiation of cane sugar cultivation as an export product, and importation of African slaves as a labor force. Spaniards continued to expand their presence in the circum-Caribbean region with expeditions. One was by Francisco Hernández de Córdoba in 1517, another by Juan de Grijalva in 1518, which brought promising news of possibilities there. Even by the mid-1510s, the western Caribbean was largely unexplored by Spaniards. A well-connected settler in Cuba, Hernán Cortés received authorization in 1519 by the governor of Cuba to form an expedition of exploration-only to this far western region. That expedition was to make world history.
Mexico
It wasn’t until Spanish expansion into modern-day Mexico that Spanish explorers were able to find wealth on the scale that they had been hoping for. Unlike Spanish expansion in the Caribbean, which involved limited armed combat and sometimes the participation of indigenous allies, the conquest of central Mexico was protracted and necessitated indigenous allies who chose to participate for their own purposes. The conquest of the Aztec empire involved the combined effort of armies from many indigenous allies, spearheaded by a small Spanish force of conquistadors. The Aztec empire was a fragile confederation of city-states. Spaniards persuaded the leaders of subordinate city-states and one city-state never conquered by the Aztecs, Tlaxcala, to join them in huge numbers, with thousands, perhaps tens of thousands of indigenous warriors. The conquest of central Mexico is one of the best-documented events in world history, with accounts by the expedition leader Hernán Cortés, many other Spanish conquistadors, including Bernal Díaz del Castillo, indigenous allies from the city-states altepetl of Tlaxcala, Texcoco, and Huexotzinco, but also importantly, the defeated of Tenochtitlan, the Aztec capital. What can be called the visions of the vanquished, indigenous accounts written in the sixteenth century, are a rare case of history being written by those other than the victors.
The capture of the Aztec emperor Moctezuma II by Cortés was not a brilliant stroke of innovation, but came from the playbook that the Spanish developed during their period in the Caribbean. The composition of the expedition was the standard pattern, with a senior leader, and participating men investing in the enterprise with the full expectation of rewards if they did not lose their lives. Cortés’s seeking indigenous allies was a typical tactic of warfare: divide and conquer. But the indigenous allies had much to gain by throwing off Aztec rule. For the Spaniards’ Tlaxcalan allies, their crucial support gained them enduring political legacy into the modern era, the Mexican state of Tlaxcala.
The conquest of central Mexico sparked further Spanish conquests, following the pattern of conquered and consolidated regions being the launching point for further expeditions. These were often led by secondary leaders, such as Pedro de Alvarado. Later conquests in Mexico were protracted campaigns with less spectacular results than the conquest of the Aztecs. The Spanish conquest of Yucatán, the Spanish conquest of Guatemala, the conquest of the Tarascans/Purépecha of Michoacan, the war of Mexico's west, and the Chichimeca War in northern Mexico expanded Spanish control over territory and indigenous populations. But not until the Spanish conquest of Peru was the conquest of the Aztecs matched in scope by the victory over the Inca empire in 1532.
Peru
In 1532 at the Battle of Cajamarca a group of Spaniards under Francisco Pizarro and their indigenous Andean Indian auxiliaries native allies ambushed and captured the Emperor Atahualpa of the Inca Empire. It was the first step in a long campaign that took decades of fighting to subdue the mightiest empire in the Americas. In the following years, Spain extended its rule over the Empire of the Inca civilization.
The Spanish took advantage of a recent civil war between the factions of the two brothers Emperor Atahualpa and Huáscar, and the enmity of indigenous nations the Incas had subjugated, such as the Huancas, Chachapoyas, and Cañaris. In the following years the conquistadors and indigenous allies extended control over Greater Andes Region. The Viceroyalty of Perú was established in 1542. The last Inca stronghold was conquered by the Spanish in 1572.
Peru was the last territory in the continent under Spanish rule, which ended on 9 December 1824 at the Battle of Ayacucho (Spanish rule continued until 1898 in Cuba and Puerto Rico).
Chile
Chile was explored by Spaniards based in Peru, where Spaniards found the fertile soil and mild climate attractive. The Mapuche people of Chile, whom the Spaniards called Araucanians, resisted fiercely. The Spanish did establish the settlement of Chile in 1541, founded by Pedro de Valdivia.
Southward colonization by the Spanish in Chile halted after the conquest of Chiloé Archipelago in 1567. This is thought to have been the result of an increasingly harsh climate to the south, and the lack of a populous and sedentary indigenous population to settle among for the Spanish in the fjords and channels of Patagonia. South of the Bío-Bío River the Mapuche successfully reversed colonization with the Destruction of the Seven Cities in 1599–1604. This Mapuche victory laid the foundation for the establishment of a Spanish-Mapuche frontier called La Frontera. Within this frontier the city of Concepción assumed the role of "military capital" of Spanish-ruled Chile. With a hostile indigenous population, no obvious mineral or other exploitable resources, and little strategic value, Chile was a fringe area of colonial Spanish America, hemmed in geographically by the Andes to the east, Pacific Ocean to the west, and indigenous to the south.
New Granada
Between 1537 and 1543, six Spanish expeditions entered highland Colombia, conquered the Muisca Confederation, and set up the New Kingdom of Granada (). Gonzalo Jiménez de Quesada was the leading conquistador with his brother Hernán second in command. It was governed by the president of the Audiencia of Bogotá, and comprised an area corresponding mainly to modern-day Colombia and parts of Venezuela. The conquistadors originally organized it as a captaincy general within the Viceroyalty of Peru. The crown established the audiencia in 1549. Ultimately, the kingdom became part of the Viceroyalty of New Granada first in 1717 and permanently in 1739. After several attempts to set up independent states in the 1810s, the kingdom and the viceroyalty ceased to exist altogether in 1819 with the establishment of Gran Colombia.
Venezuela
Venezuela was first visited by Europeans during the 1490s, when Columbus was in control of the region, and the region as a source for indigenous slaves for Spaniards in Cuba and Hispaniola, since the Spanish destruction of the local indigenous population. There were few permanent settlements, but Spaniards settled the coastal islands of Cubagua and Margarita to exploit the pearl beds. Western Venezuela’s history took an atypical direction in 1528, when Spain’s first Hapsburg monarch, Charles I granted rights to colonize to the German banking family of the Welsers. Charles sought to be elected Holy Roman Emperor and was willing to pay whatever it took to achieve that. He became deeply indebted to the German Welser and Fugger banking families. To satisfy his debts to the Welsers, he granted them the right to colonize and exploit western Venezuela, with the proviso that they found two towns with 300 settlers each and construct fortifications. They established the colony of Klein-Venedig in 1528. They founded the towns of Coro and Maracaibo. They were aggressive in making their investment pay, alienating the indigenous populations and Spaniards alike. Charles revoked the grant in 1545, ending the episode of German colonization.
Río de la Plata and Paraguay
Argentina was not conquered or later exploited in the grand fashion of central Mexico or Peru, since the indigenous population was sparse and there were no precious metals or other valuable resources. Although today Buenos Aires at the mouth of Río de la Plata is a major metropolis, it held no interest for Spaniards and the 1535-36 settlement failed and was abandoned by 1541. Pedro de Mendoza and Domingo Martínez de Irala, who led the original expedition, went inland and founded Asunción, Paraguay, which became the Spaniards' base. A second (and permanent) settlement was established in 1580 by Juan de Garay, who arrived by sailing down the Paraná River from Asunción, now the capital of Paraguay. Exploration from Peru resulted in the foundation of Tucumán in what is now northwest Argentina.
End of era of exploration
The spectacular conquests of central Mexico (1519–21) and Peru (1532) sparked Spaniards' hopes of finding yet another high civilization. Expeditions continued into the 1540s and regional capitals founded by the 1550s. Among the most notable expeditions are Hernando de Soto into southeast North America, leaving from Cuba (1539–42); Francisco Vázquez de Coronado to northern Mexico (1540–42), and Gonzalo Pizarro to Amazonia, leaving from Quito, Ecuador (1541–42). In 1561, Pedro de Ursúa led an expedition of some 370 Spanish (including women and children) into Amazonia to search for El Dorado. Far more famous now is Lope de Aguirre, who led a mutiny against Ursúa, who was murdered. Aguirre subsequently wrote a letter to Philip II bitterly complaining about the treatment of conquerors like himself in the wake of the assertion of crown control over Peru. An earlier expedition that left in 1527 was led by Pánfilo Naváez, who was killed early on. Survivors continued to travel among indigenous groups in the North American south and southwest until 1536. Álvar Núñez Cabeza de Vaca was one of four survivors of that expedition, writing an account of it. The crown later sent him to Asunción, Paraguay to be adelantado there. Expeditions continued to explore territories in hopes of finding another Aztec or Inca empire, with no further success. Francisco de Ibarra led an expedition from Zacatecas in northern New Spain, and founded Durango. Juan de Oñate, is sometimes referred to as "the Last Conquistador", expanded Spanish sovereignty over what is now New Mexico. Like previous conquistadors, Oñate engaged in widespread abuses of the Indian population. Shortly after founding Santa Fe, Oñate was recalled to Mexico City by the Spanish authorities. He was subsequently tried and convicted of cruelty to both natives and colonists and banished from New Mexico for life.
Factors affecting Spanish settlement
Two major factors affected the density of Spanish settlement in the long term. One was the presence or absence of dense, hierarchically organized indigenous populations that could be made to work. The other was the presence or absence of an exploitable resource for the enrichment of settlers. Best was gold, but silver was found in abundance.
The two main areas of Spanish settlement after 1550 were Mexico and Peru, the sites of the Aztec and Inca indigenous civilizations. Equally important, rich deposits of the valuable metal silver. Spanish settlement in Mexico “largely replicated the organization of the area in preconquest times” while in Peru, the center of the Incas was too far south, too remote, and at too high an altitude for the Spanish capital. The capital Lima was built near the Pacific coast. The capitals of Mexico and Peru, Mexico City and Lima came to have large concentrations of Spanish settlers and became the hubs of royal and ecclesiastical administration, large commercial enterprises and skilled artisans, and centers of culture. Although Spaniards had hoped to find vast quantities of gold, the discovery of large quantities of silver became the motor of the Spanish colonial economy, a major source of income for the Spanish crown, and transformed the international economy. Mining regions in both Mexico were remote, outside the zone of indigenous settlement in central and southern Mexico Mesoamerica, but mines in Zacatecas (founded 1548) and Guanajuato (founded 1548) were key hubs in the colonial economy. In Peru, silver was found in a single silver mountain, the Cerro Rico de Potosí, still producing silver in the 21st century. Potosí (founded 1545) was in the zone of dense indigenous settlement, so that labor could be mobilized on traditional patterns to extract the ore. An important element for productive mining was mercury for processing high-grade ore. Peru had a source in Huancavelica (founded 1572), while Mexico had to rely on mercury imported from Spain.
Establishment of early settlements
The Spanish founded towns in the Caribbean, on Hispaniola and Cuba, on a pattern that became spatially similar throughout Spanish America. A central plaza had the most important buildings on the four sides, especially buildings for royal officials and the main church. A checkerboard pattern radiated outward. Residences of the officials and elites were closest to the main square. Once on the mainland, where there were dense indigenous populations in urban settlements, the Spanish could build a Spanish settlement on the same site, dating its foundation to when that occurred. Often they erected a church on the site of an indigenous temple. They replicated the existing indigenous network of settlements, but added a port city. The Spanish network needed a port city so that inland settlements could be connected by sea to Spain. In Mexico, the Hernán Cortés and the men of his expedition founded of the port town of Veracruz in 1519 and constituted themselves as the town councilors, as a means to throw off the authority of the governor of Cuba, who did not authorize an expedition of conquest. start of the conquest of central Mexico; once the Aztec empire was toppled, they founded Mexico City on the ruins of the Aztec capital. Their central official and ceremonial area was built on top of Aztec palaces and temples. In Peru, Spaniards founded the city of Lima as their capital and its nearby port of Callao, rather than the high-altitude site of Cuzco, the center of Inca rule. Spaniards established a network of settlements in areas they conquered and controlled. Important ones include Santiago de Guatemala (1524); Puebla (1531); Querétaro (ca. 1531); Guadalajara (1531–42); Valladolid (now Morelia), (1529–41); Antequera (now Oaxaca(1525–29); Campeche (1541); and Mérida. In southern Central and South America, settlements were founded in Panama (1519); León, Nicaragua (1524); Cartagena (1532); Piura (1532); Quito (1534); Trujillo (1535); Cali (1537) Bogotá (1538); Quito (1534); Cuzco 1534); Lima (1535); Tunja, (1539); Huamanga 1539; Arequipa (1540); Santiago de Chile (1544) and Concepción, Chile (1550). Settled from the south were Buenos Aires (1536, 1580); Asunción (1537); Potosí (1545); La Paz, Bolivia (1548); and Tucumán (1553).
Ecological conquests
The Columbian Exchange was as significant as the clash of civilizations. Arguably the most significant introduction was diseases brought to the Americas, which devastated indigenous populations in a series of epidemics. The loss of indigenous population had a direct impact on Spaniards as well, since increasingly they saw those populations as a source of their own wealth, disappearing before their eyes.
In the first settlements in the Caribbean, the Spaniards deliberately brought animals and plants that transformed the ecological landscape. Pigs, cattle, sheep, goats, and chickens allowed Spaniards to eat a diet with which they were familiar. But the importation of horses transformed warfare for both the Spaniards and the indigenous. Where the Spaniards had exclusive access to horses in warfare, they had an advantage over indigenous warriors on foot. They were initially a scarce commodity, but horse breeding became an active industry. Horses that escaped Spanish control were captured by indigenous; many indigenous also raided for horses. Mounted indigenous warriors were significant foes for Spaniards. The Chichimeca in northern Mexico, the Comanche in the northern Great Plains and the Mapuche in southern Chile and the pampas of Argentina resisted Spanish conquest. For Spaniards, the fierce Chichimecas barred them for exploiting mining resources in northern Mexico. Spaniards waged a fifty-year war (ca. 1550-1600) to subdue them, but peace was only achieved by Spaniards’ making significant donations of food and other commodities the Chichimeca demanded. "Peace by purchase" ended the conflict. In southern Chile and the pampas, the Araucanians (Mapuche) prevented further Spanish expansion. The image of mounted Araucanians capturing and carrying off white women was the embodiment of Spanish ideas of civilization and barbarism.
Cattle multiplied quickly in areas where little else could turn a profit for Spaniards, including northern Mexico and the Argentine pampas. The introduction of sheep production was an ecological disaster in places where they were raised in great numbers, since they ate vegetation to the ground, preventing the regeneration of plants.
The Spanish brought new crops for cultivation. They preferred wheat cultivation to indigenous sources of carbohydrates: casava, maize (corn), and potatoes, initially importing seeds from Europe and planting in areas where plow agriculture could be utilized, such as the Mexican Bajío. They also imported cane sugar, which was a high-value crop in early Spanish America. Spaniards also imported citrus trees, establishing orchards of oranges, lemons, and limes, and grapefruit. Other imports were figs, apricots, cherries, pears, and peaches among others. The exchange did not go one way. Important indigenous crops that transformed Europe were the potato and maize, which produced abundant crops that led to the expansion of populations in Europe. Chocolate (Nahuatl: chocolate) and vanilla were cultivated in Mexico and exported to Europe. Among the foodstuffs that became staples in European cuisine and could be grown there were tomatoes, squashes, bell peppers, and to a lesser extent in Europe chili peppers; also nuts of various kinds: Walnuts, cashews, pecans, and peanuts.
Civil governance
The empire in the Indies was a newly established dependency of the kingdom of Castile alone, so crown power was not impeded by any existing cortes (i.e. parliament), administrative or ecclesiastical institution, or seigneurial group. The crown sought to establish and maintain control over its overseas possessions through a complex, hierarchical bureaucracy, which in many ways was decentralized. The crown asserted is authority and sovereignty of the territory and vassals it claimed, collected taxes, maintained public order, meted out justice, and established policies for governance of large indigenous populations. Many institutions established in Castile found expression in The Indies from the early colonial period. Spanish universities expanded to train lawyer-bureaucrats (letrados) for administrative positions in Spain and its overseas empire.
The end of the Habsburg dynasty in 1700 saw major administrative reforms in the eighteenth century under the Bourbon monarchy, starting with the first Spanish Bourbon monarch, Philip V (r. 1700-1746) and reaching its apogee under Charles III (r. 1759-1788). The reorganization of administration has been called "a revolution in government." Reforms sought to centralize government control through reorganization of administration, reinvigorate the economies of Spain and the Spanish empire through changes in mercantile and fiscal policies, defend Spanish colonies and territorial claims through the establishment of a standing military, undermine the power of the Catholic church, and rein in the power of the American-born elites.
Early institutions of governance
The crown relied on ecclesiastics as important councilors and royal officials in the governance of their overseas territories. Archbishop Juan Rodríguez de Fonseca, Isabella's confessor, was tasked with reining in Columbus's independence. He strongly influenced the formulation of colonial policy under the Catholic Monarchs, and was instrumental in establishing the Casa de Contratación (House of Trade) (1503), which enabled crown control over trade and immigration. Ovando fitted out Magellan's voyage of circumnavigation, and became the first President of the Council of the Indies in 1524. Ecclesiastics also functioned as administrators overseas in the early Caribbean period, particularly Frey Nicolás de Ovando, who was sent to investigate the administration of Francisco de Bobadilla, the governor appointed to succeed Christopher Columbus. Later ecclesiastics served as interim viceroys, general inspectors (visitadores), and other high posts.
House of Trade
The crown established control over trade and emigration to the Indies with the 1503 establishment the Casa de Contratación (House of Trade) in Seville. Ships and cargoes were registered, and emigrants vetted to prevent migration of anyone not of old Christian heritage, (i.e., with no Jewish or Muslim ancestry), and facilitated the migration of families and women. In addition, the Casa de Contratación took charge of the fiscal organization, and of the organization and judicial control of the trade with the Indies.
Assertion of royal control in the early Caribbean
The politics of asserting royal authority to oppose Columbus resulted in the suppression of his privileges and the creation of territorial governance under royal authority. These governorates, also called as provinces, were the basic of the territorial government of the Indies, and arose as the territories were conquered and colonized. To carry out the expedition (entrada), which entailed exploration, conquest, and initial settlement of the territory, the king, as sovereign, and the appointed leader of an expedition (adelantado) agreed to an itemized contract (capitulación), with the specifics of the conditions of the expedition in a particular territory. The individual leaders of expeditions assumed the expenses of the venture and in return received as reward the grant from the government of the conquered territories; and in addition, they received instructions about treating the indigenous peoples.
After the end of the period of conquests, it was necessary to manage extensive and different territories with a strong bureaucracy. In the face of the impossibility of the Castilian institutions to take care of the New World affairs, other new institutions were created.
As the basic political entity it was the governorate, or province. The governors exercised judicial ordinary functions of first instance, and prerogatives of government legislating by ordinances. To these political functions of the governor, it could be joined the military ones, according to military requirements, with the rank of Captain general. The office of captain general involved to be the supreme military chief of the whole territory and he was responsible for recruiting and providing troops, the fortification of the territory, the supply and the shipbuilding.
Beginning in 1522 in the newly conquered Mexico, government units in the Spanish Empire had a royal treasury controlled by a set of oficiales reales (royal officials). There were also sub-treasuries at important ports and mining districts. The officials of the royal treasury at each level of government typically included two to four positions: a tesorero (treasurer), the senior official who guarded money on hand and made payments; a contador (accountant or comptroller), who recorded income and payments, maintained records, and interpreted royal instructions; a factor, who guarded weapons and supplies belonging to the king, and disposed of tribute collected in the province; and a veedor (overseer), who was responsible for contacts with native inhabitants of the province, and collected the king's share of any war booty. The veedor, or overseer, position quickly disappeared in most jurisdictions, subsumed into the position of factor. Depending on the conditions in a jurisdiction, the position of factor/veedor was often eliminated, as well.
The treasury officials were appointed by the king, and were largely independent of the authority of the viceroy, audiencia president or governor. On the death, unauthorized absence, retirement or removal of a governor, the treasury officials would jointly govern the province until a new governor appointed by the king could take up his duties. Treasury officials were supposed to be paid out of the income from the province, and were normally prohibited from engaging in income-producing activities.
Spanish law and indigenous peoples
The protection of the indigenous populations from enslavement and exploitation by Spanish settlers were established in the Laws of Burgos, 1512–1513. The laws were the first codified set of laws governing the behavior of Spanish settlers in the Americas, particularly with regards to treatment of native Indians in the institution of the encomienda. They forbade the maltreatment of natives, and endorsed the Indian Reductions with attempts of conversion to Catholicism. Upon their failure to effectively protect the indigenous and following the Spanish conquest of the Aztec Empire and the Spanish conquest of Peru, more stringent laws to control conquerors' and settlers' exercise of power, especially their maltreatment of the indigenous populations, were promulgated, known as the New Laws (1542). The crown aimed to prevent the formation of an aristocracy in the Indies not under crown control.
Queen Isabel was the first monarch that laid the first stone for the protection of the indigenous peoples in her testament in which the Catholic monarch prohibited the enslavement of the indigenous peoples of the Americas. Then the first such in 1542; the legal thought behind them was the basis of modern International law.
The Valladolid debate (1550–1551) was the first moral debate in European history to discuss the rights and treatment of a colonized people by colonizers. Held in the Colegio de San Gregorio, in the Spanish city of Valladolid, it was a moral and theological debate about the colonization of the Americas, its justification for the conversion to Catholicism and more specifically about the relations between the European settlers and the natives of the New World. It consisted of a number of opposing views about the way natives were to be integrated into colonial life, their conversion to Christianity and their rights and obligations. According to the French historian Jean Dumont The Valladolid debate was a major turning point in world history “In that moment in Spain appeared the dawn of the human rights”.
The indigenous populations in the Caribbean became the focus of the crown in its roles as sovereigns of the empire and patron of the Catholic Church. Spanish conquerors holding grants of indigenous labor in encomienda ruthlessly exploited them. A number of friars in the early period came to the vigorous defense of the indigenous populations, who were new converts to Christianity. Prominent Dominican friars in Santo Domingo, especially Antonio de Montesinos and Bartolomé de Las Casas denounced the maltreatment and pressed the crown to act to protect the indigenous populations. The crown enacted Laws of Burgos (1513) and the Requerimiento to curb the power of the Spanish conquerors and give indigenous populations the opportunity to peacefully embrace Spanish authority and Christianity. Neither was effective in its purpose. Las Casas was officially appointed Protector of the Indians and spent his life arguing forcefully on their behalf. The New Laws of 1542 were the result, limiting the power of encomenderos, the private holders of grants to indigenous labor previously held in perpetuity. The crown was open to limiting the inheritance of encomiendas in perpetuity as a way to extinguish the coalescence of a group of Spaniards impinging on royal power. In Peru, the attempt of the newly appointed viceroy, Blasco Núñez Vela, to implement the New Laws so soon after the conquest sparked a revolt by conquerors against the viceroy and the viceroy was killed in 1546. In Mexico, Don Martín Cortés, the son and legal heir of conqueror Hernán Cortés, and other heirs of encomiendas led a failed revolt against the crown. Don Martín was sent into exile, while other conspirators were executed.
Indigenous peoples and colonial rule
The conquest of the Aztec and Inca empires ended their sovereignty over their respective territorial expanses, replaced by the Spanish Empire. However, the Spanish Empire could not have ruled these vast territories and dense indigenous populations without utilizing the existing indigenous political and economic structures at the local level. A key to this was the cooperation between most indigenous elites with the new ruling structure. The Spanish recognized indigenous elites as nobles and gave them continuing standing in their communities. Indigenous elites could use the noble titles don and doña, were exempt from the head-tax, and could entail their landholdings into cacicazgos. These elites played an intermediary role between the Spanish rulers and indigenous commoners. Since in central and southern Mexico (Mesoamerica) and the highland Andes indigenous peoples had existing traditions of payment of tribute and required labor service, the Spanish could tap into these systems to extract wealth. There were few Spaniards and huge indigenous populations, so utilizing indigenous intermediaries was a practical solution to the incorporation of the indigenous population into the new regime of rule. By maintaining hierarchical divisions within communities, indigenous noblemen were the direct interface between the indigenous and Spanish spheres and kept their positions so long as they continued to be loyal to the Spanish crown.
The exploitation and demographic catastrophe that indigenous peoples experienced from Spanish rule in the Caribbean also occurred
as Spaniards expanded their control over territories and their indigenous populations. The crown set the indigenous communities legally apart from Spaniards (as well as Blacks), who comprised the República de Españoles, with the creation of the República de Indios. The crown attempted to curb Spaniards' exploitation, banning Spaniards' bequeathing their private grants of indigenous communities' tribute and encomienda labor in 1542 in the New Laws. In Mexico, the crown established the General Indian Court (Juzgado General de Indios), which heard disputes affecting individual indigenous as well as indigenous communities. Lawyers for these cases were funded by a half-real tax, an early example of legal aid for the poor. A similar legal apparatus was set up in Lima.
The Spaniards systematically attempted to transform structures of indigenous governance to those more closely resembling those of Spaniards, so the indigenous city-state became a Spanish town and the indigenous noblemen who ruled became officeholders of the town council (cabildo). Although the structure of the indigenous cabildo looked similar to that of the Spanish institution, its indigenous functionaries continued to follow indigenous practices. In central Mexico, there exist minutes of the sixteenth-century meetings in Nahuatl of the Tlaxcala cabildo. Indigenous noblemen were particularly important in the early period of colonization, since the economy of the encomienda was initially built on the extraction of tribute and labor from the commoners in their communities. As the colonial economy became more diversified and less dependent on these mechanisms for the accumulation of wealth, the indigenous noblemen became less important for the economy. However, noblemen became defenders of the rights to land and water controlled by their communities. In colonial Mexico, there are petitions to the king about a variety of issues important to particular indigenous communities when the noblemen did not get a favorable response from the local friar or priest or local royal officials.
Works by historians in the twentieth and twenty-first centuries have expanded the understanding of the impact of the Spanish conquest and changes during the more than three hundred years of Spanish rule. There are many such works for Mexico, often drawing on native-language documentation in Nahuatl, Only the most valuable low bulk products would be exported.
Agricultural export products
Cacao beans for chocolate emerged as an export product as Europeans developed a taste for sweetened chocolate. Another important export product was cochineal, a color-fast red dye made from dried insects living on cacti. It became the second-most valuable export from Spanish America after silver.
19th century
During the Napoleonic Peninsular War in Europe between France and Spain, assemblies called juntas were established to rule in the name of Ferdinand VII of Spain.
The Libertadores (Spanish and Portuguese for "Liberators") were the principal leaders of the Spanish American wars of independence. They were predominantly criollos (Americas-born people of European ancestry, mostly Spanish or Portuguese), bourgeois and influenced by liberalism and in some cases with military training in the mother country.
In 1809 the first declarations of independence from Spanish rule occurred in the Viceroyalty of Peru. The first two were in the Alto Perú, present-day Bolivia, at Charcas (present day Sucre, May 25), and La Paz (July 16); and the third in present-day Ecuador at Quito (August 10). In 1810 Mexico declared independence, with the Mexican War of Independence following for over a decade. In 1821 Treaty of Córdoba established Mexican independence from Spain and concluded the War. The Plan of Iguala was part of the peace treaty to establish a constitutional foundation for an independent Mexico.
These began a movement for colonial independence that spread to Spain's other colonies in the Americas. The ideas from the French and the American Revolution influenced the efforts. All of the colonies, except Cuba and Puerto Rico, attained independence by the 1820s. The British Empire offered support, wanting to end the Spanish monopoly on trade with its colonies in the Americas.
In 1898, the United States achieved victory in the Spanish–American War with Spain, ending the Spanish colonial era. Spanish possession and rule of its remaining colonies in the Americas ended in that year with its sovereignty transferred to the United States. The United States took occupation of Cuba, the Philippines, and Puerto Rico. Puerto Rico continues to be a possession of the United States, now officially continues as a self-governing unincorporated territory.
In popular culture
In the twentieth century, there have been a number of films depicting the life of Christopher Columbus. One in 1949 stars Frederic March as Columbus. With the 1992 commemoration (and critique) of Columbus, more cinematic and television depictions of the era appeared, including a TV miniseries with Gabriel Byrne as Columbus. Christopher Columbus: The Discovery (1992) has Georges Corroface as Columbus with Marlon Brando as Tomás de Torquemada and Tom Selleck as King Ferdinand and Rachel Ward as Queen Isabela. 1492: The Conquest of Paradise stars Gérard Depardieu as Columbus and Sigorney Weaver as Queen Isabel. A 2010 film, Even the Rain starring Gael García Bernal, is set in modern Cochabamba, Bolivia during the Cochabamba Water War, following a film crew shooting a controversial life of Columbus. A 1995 Bolivian-made film is in some ways similar to Even the Rain is To Hear the Birds Singing, with a modern film crew going to an indigenous settlement to shot a film about the Spanish conquest and end up replicating aspects of the conquest.
For the conquest of Mexico, a 2019 an eight-episode Mexican TV miniseries Hernán depicts the conquest of Mexico. Other notable historical figures in the production are Malinche, Cortés cultural translator, and other conquerors Pedro de Alvarado, Cristóbal de Olid, Bernal Díaz del Castillo. Showing the indigenous sides are Xicotencatl, a leader of the Spaniards' Tlaxcalan allies, and Aztec emperors Moctezuma II and Cuitlahuac. The story of Doña Marina, also known as Malinche, was the subject of a Mexican TV miniseries in 2018. A major production in Mexico was the 1998 film, The Other Conquest, which focuses on a Nahua in the post-conquest era and the evangelization of central Mexico.
The epic journey of Álvar Núñez Cabeza de Vaca has been portrayed in a 1991 feature-length Mexican film, Cabeza de Vaca. The similarly epic and dark journey of Lope de Aguirre was made into a film by Werner Herzog, Aguirre, the Wrath of God (1972), starring Klaus Kinsky.
The Mission was a 1996 film idealizing a Jesuit mission to the Guaraní in the territory disputed between Spain and Portugal. The film starred Robert De Niro, Jeremy Irons, and Liam Neeson and It won an Academy Award.
The life of seventeenth-century Mexican nun, Sor Juana Inés de la Cruz, renowned in her lifetime, has been portrayed in a 1990 Argentine film, I, the Worst of All and in a TV miniseries Juana Inés. Seventeenth-century Mexican trickster, Martín Garatuza was the subject of a late nineteenth-century novel by Mexican politician and writer, Vicente Riva Palacio. In the twentieth century, Garatuza's life was the subject of a 1935 film and a 1986 telenovela, Martín Garatuza.
For the independence era, the 2016 Bolivian-made film made about Mestiza independence leader Juana Azurduy de Padilla is part of the recent recognition of her role in the independence of Argentina and Bolivia.
Dominions
North America, Central America
Viceroyalty of New Spain (1535–1821)
Las Californias
Nuevo Reino de León
Territorio de Nutka
Nuevo Santander
Nueva Vizcaya
Santa Fe de Nuevo México
Nueva Extremadura
Nueva Galicia
Captaincy General of Guatemala
La Luisiana (until 1801).
Spanish Florida (until 1819).
Captaincy General of Cuba (until 1898)
Captaincy General of Puerto Rico (until 1898)
Santo Domingo (last Spanish rule 1861–1865)
Captaincy General of the Philippines (administered by New Spain from 1565 to 1821, then after Mexican independence transferred to and directly administered by Madrid until 1898)
South America
Viceroyalty of Perú (1542–1824)
Captaincy General of Chile (1541–1818)
Viceroyalty of New Granada (1717–1819)
Captaincy General of Venezuela
Viceroyalty of the Río de la Plata (1776–1814)
See also
Atlantic World
Cartography of Latin America
Castas
Spanish Empire
Spanish American Enlightenment
Black legend (Spain)
Hapsburg Spain
List of largest empires
Population history of indigenous peoples of the Americas
Valladolid debate
Viceroyalty of New Spain
Viceroyalty of Peru
Notes
References
Further reading
Altman, Ida and David Wheat, eds. The Spanish Caribbean and the Atlantic World in the Long Sixteenth Century. Lincoln: University of Nebraska Press 2019.
Brading, D. A., The First America: the Spanish Monarchy, Creole Patriots, and the Liberal State, 1492–1867 (Cambridge: Cambridge University Press, 1993).
Burkholder, Mark A. and Lyman L. Johnson. Colonial Latin America, 10th ed. Oxford University Press 2018.
Chipman, Donald E. and Joseph, Harriett Denise. Spanish Texas, 1519–1821. (Austin: University of Texas Press, 1992)
Clark, Larry R. Imperial Spain’s Failure to Colonize Southeast North America: 1513 - 1587 (TimeSpan Press 2017) updated edition to Spanish Attempts to Colonize Southeast North America (McFarland Publishing, 2010)
Elliott, J. H. Empires of the Atlantic World: Britain and Spain in America, 1492–1830 (New Haven: Yale University Press, 2007)
Gibson, Carrie. Empire's Crossroads: A History of the Caribbean from Columbus to the Present Day (New York: Grove Press, 2015)
Gibson, Carrie. El Norte: The Epic and Forgotten Story of Hispanic North America (New York: Atlantic Monthly Press, 2019)
Gibson, Charles. Spain in America. New York: Harper and Row 1966.
Goodwin, Robert. América: The Epic Story of Spanish North America, 1493-1898 (London: Bloomsbury Publishing, 2019)
Hanke, Lewis. The Spanish Struggle for Justice in the Conquest of America (Boston: Little, Brown, and Co., 1965).
Haring, Clarence H. The Spanish Empire in America (London: Oxford University Press, 1947)
Kamen, Henry. Empire: How Spain Became a World Power, 1492–1763 (HarperCollins, 2004)
Lockhart, James and Stuart B. Schwartz. Early Latin America: A History of Colonial Spanish America and Brazil. New York: Cambridge University Press 1983.
Merriman, Roger Bigelow. The Rise of the Spanish Empire in the Old World and in the New (4 Vol. London: Macmillan, 1918) online free
Portuondo, María M. Secret Science: Spanish Cosmography and the New World (Chicago: Chicago UP, 2009).
Restall, Matthew and Fernández-Armesto, Felipe. The Conquistadors: A Very Short Introduction (2012) excerpt and text search
Restall, Matthew and Kris Lane. Latin America in Colonial Times. New York: Cambridge University Press 2011.
Thomas, Hugh. Rivers of Gold: the rise of the Spanish Empire, from Columbus to Magellan (2005)
Weber, David J. The Spanish Frontier in North America (Yale University Press, 1992)
Historiography
Cañeque, Alejandro "The Political and Institutional History of Colonial Spanish America" History Compass (April 2013) 114 pp 280–291,
Herzog, Tamar (2018). "Indigenous Reducciones and Spanish Resettlement: Placing Colonial and European History in Dialogue". Ler Historia (72): 9-30. doi:10.4000/lerhistoria.3146. ISSN 0870-6182.
Weber, David J. "John Francis Bannon and the Historiography of the Spanish Borderlands: Retrospect and Prospect." Journal of the Southwest (1987): 331–363. See John Francis Bannon
Weber, David J. “The Spanish Borderlands, Historiography Redux.” The History Teacher, vol. 39, no. 1, 2005, pp. 43–56. JSTOR, online.
External links
Spanish Exploration and Conquest of North America
Spain in America (Edward Gaylord Bourne, 1904) 'Spain in America'
The Spanish Borderlands (Herbert E. Bolton, 1921) 'The Spanish Borderlands'
Indigenous Puerto Rico DNA evidence upsets established history
“The Political Force of Images,” Vistas: Visual Culture in Spanish America, 1520–1820.
Spanish exploration in the Age of Discovery
16th century in North America
16th century in Central America
16th century in South America
16th century in the Spanish Empire
History of indigenous peoples of the Americas
History of the Colony of Santo Domingo
Former empires
Americas
History of the Americas | 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",
"Dewdanr is a village in the Poraiyahat CD block in the Godda subdivision of the Godda district in the Indian state of Jharkhand.\n\nGeography\n\nLocation \nDewdanr is located at .\n\nDewdanr has an area of .\n\nOverview\nThe map shows a hilly area with the Rajmahal hills running from the bank of the Ganges in the extreme north to the south, beyond the area covered by the map into Dumka district. ‘Farakka’ is marked on the map and that is where Farakka Barrage is, just inside West Bengal. Rajmahal coalfield is shown in the map. The entire area is overwhelmingly rural with only small pockets of urbanisation. \n\nNote: The full screen map is interesting. All places marked on the map are linked and you can easily move on to another page of your choice. Enlarge the map to see what else is there – one gets railway links, many more road links and so on.\n\nDemographics\nAccording to the 2011 Census of India, Dewdanr had a total population of 12, of which 8 (67%) were males and 4 (33%) were females.\n\nCivic administration\n\nPolice station\nDeodanr police station serves the Poraiyahat CD block.\n\nReferences\n\nVillages in Godda district"
]
|
[
"Spanish colonization of the Americas",
"Mexico",
"When did the colonization of Mexico begin?",
"The Spanish conquest of Mexico is generally understood to be the Spanish conquest of the Aztec Empire (1519-21) which was the base for later conquests of other regions.",
"What happened during this period?",
"Later conquests were protracted campaigns with less spectacular results than the conquest of the Aztecs.",
"What was so spectacular about the conquest of the Aztecs?",
"The victory over the Aztecs was relatively quick, from 1519 to 1521, and aided by his Tlaxcala and other allies from indigenous city-states or altepetl.",
"What else happened during this time?",
"These polities allied against the Aztec empire, to which they paid tribute following conquest or threat of conquest, leaving the city-states' political hierarchy and social structure in place.",
"Were these cities eventually conquered themselves?",
"I don't know.",
"What else happened around the time of the Aztec conquest?",
"I don't know.",
"What else is interesting?",
"The Spanish conquest of Yucatan was a much longer campaign, from 1551 to 1697, against the Maya peoples in the Yucatan Peninsula of present-day Mexico and northern Central America."
]
| C_481aa00f10ba4a8c8e8950d309ce24a0_1 | Why was is longer to conquer the Yucatan? | 8 | Why was is longer to conquer the Yucatan? | Spanish colonization of the Americas | The Spanish conquest of Mexico is generally understood to be the Spanish conquest of the Aztec Empire (1519-21) which was the base for later conquests of other regions. Later conquests were protracted campaigns with less spectacular results than the conquest of the Aztecs. The Spanish conquest of Yucatan, the Spanish conquest of Guatemala, the war of Mexico's west, and the Chichimeca War in northern Mexico expanded Spanish control over territory and indigenous populations. But not until the Spanish conquest of Peru was the conquest of the Aztecs matched in scope by the victory over the Inca empire in 1532. The Spanish conquest of the Aztec empire was led by Hernan Cortes. The victory over the Aztecs was relatively quick, from 1519 to 1521, and aided by his Tlaxcala and other allies from indigenous city-states or altepetl. These polities allied against the Aztec empire, to which they paid tribute following conquest or threat of conquest, leaving the city-states' political hierarchy and social structure in place. The Spanish conquest of Yucatan was a much longer campaign, from 1551 to 1697, against the Maya peoples in the Yucatan Peninsula of present-day Mexico and northern Central America. Hernan Cortes' landing ashore at present day Veracruz and founding the Spanish city there on April 22, 1519 marked the beginning of 300 years of Spanish hegemony over the region. The assertion of royal control over the Kingdom of New Spain and the initial Spanish conquerors took over a decade, with importance of the region meriting the creation of the Viceroyalty of New Spain. Established by Charles V in 1535, the first viceroy was Don Antonio de Mendoza. Spain colonized and exerted control of Alta California through the Spanish missions in California until the Mexican secularization act of 1833. CANNOTANSWER | CANNOTANSWER | The Spanish colonization of the Americas began under the Crown of Castile and was spearheaded by the Spanish conquistadors. The Americas were invaded and incorporated into the Spanish Empire, with the exception of Brazil, British America, and some small regions of South America and the Caribbean. The crown created civil and religious structures to administer the vast territory. The main motivations for colonial expansion were profit through resource extraction and the spread of Catholicism through indigenous conversions.
Beginning with the 1492 arrival of Christopher Columbus in the Caribbean and gaining control over more territory for over three centuries, the Spanish Empire would expand across the Caribbean Islands, half of South America, most of Central America and much of North America. It is estimated that during the colonial period (1492–1832), a total of 1.86 million Spaniards settled in the Americas, and a further 3.5 million immigrated during the post-colonial era (1850–1950); the estimate is 250,000 in the 16th century and most during the 18th century, as immigration was encouraged by the new Bourbon dynasty.
By contrast, the indigenous population plummeted by an estimated 80% in the first century and a half following Columbus's voyages, primarily through the spread of disease, forced labor and slavery for resource extraction, and missionization. This has been argued to be the first large-scale act of genocide in the modern era.
In the early 19th century, the Spanish American wars of independence resulted in the secession and subsequent division of most Spanish territories in the Americas, except for Cuba and Puerto Rico, which were lost to the United States in 1898, following the Spanish–American War. The loss of these territories ended Spanish rule in the Americas.
Imperial expansion
The expansion of Spain’s territory took place under the Catholic Monarchs Isabella of Castile, Queen of Castile and her husband King Ferdinand, King of Aragon, whose marriage marked the beginning of Spanish power beyond the Iberian peninsula. They pursued a policy of joint rule of their kingdoms and created the initial stage of a single Spanish monarchy, completed under the eighteenth-century Bourbon monarchs. The first expansion of territory was the conquest of the Muslim Emirate of Granada on January 1, 1492, the culmination of the Christian Reconquest of the Iberian peninsula, held by the Muslims since 711. On March 31, 1492, the Catholic Monarch ordered the expulsion of the Jews in Spain who refused to convert to Christianity. On October 12, 1492, Genoese mariner Christopher Columbus made landfall in the Western Hemisphere.
Even though Castile and Aragon were ruled jointly by their respective monarchs, they remained separate kingdoms so that when the Catholic Monarchs gave official approval for the plans for Columbus’s voyage to reach "the Indies" by sailing West, the funding came from the queen of Castile. The profits from Spanish expedition flowed to Castile. The Kingdom of Portugal authorized a series of voyages down the coast of Africa and when they rounded the southern tip, were able to sail to India and further east. Spain sought similar wealth, and authorized Columbus’s voyage sailing west. Once the Spanish settlement in the Caribbean occurred, Spain and Portugal formalized a division of the world between them in the 1494 Treaty of Tordesillas. The deeply pious Isabella saw the expansion of Spain's sovereignty inextricably paired with the evangelization of non-Christian peoples, the so-called “spiritual conquest” with the military conquest. Pope Alexander VI in a 4 May 1493 papal decree, Inter caetera, divided rights to lands in the Western Hemisphere between Spain and Portugal on the proviso that they spread Christianity. These formal arrangements between Spain and Portugal and the pope were ignored by other European powers.
General principles of expansion
The Spanish expansion has sometimes been succinctly summed up as "gold, glory, God." The search for material wealth, the enhancement of the conquerors' and the crown's position, and the expansion of Christianity. In the extension of Spanish sovereignty to its overseas territories, authority for expeditions (entradas) of discovery, conquest, and settlement resided in the monarchy. Expeditions required authorization by the crown, which laid out the terms of such expedition. Virtually all expeditions after the Columbus voyages, which were funded by the crown of Castile, were done at the expense of the leader of the expedition and its participants. Although often the participants, conquistadors, are now termed “soldiers”, they were not paid soldiers in ranks of an army, but rather soldiers of fortune, who joined an expedition with the expectation of profiting from it. The leader of an expedition, the adelantado was a senior with material wealth and standing who could persuade the crown to issue him a license for an expedition. He also had to attract participants to the expedition who staked their own lives and meager fortunes on the expectation of the expedition’s success. The leader of the expedition pledged the larger share of capital to the enterprise, which in many ways functioned as a commercial firm. Upon the success of the expedition, the spoils of war were divvied up in proportion to the amount a participant initially staked, with the leader receiving the largest share. Participants supplied their own armor and weapons, and those who had a horse received two shares, one for himself, the second recognizing the value of the horse as a machine of war. For the conquest era, two names of Spaniards are generally known because they led the conquests of high indigenous civilizations, Hernán Cortés, leader of the expedition that conquered the Aztecs of Central Mexico, and Francisco Pizarro, leader of the conquest of the Inca in Peru.
Caribbean islands and the Spanish Main
Until his dying day, Columbus was convinced that he had reached Asia, the Indies. From that misperception the Spanish called the indigenous peoples of the Americas, "Indians" (indios), lumping a multiplicity of civilizations, groups, and individuals into a single category. The Spanish royal government called its overseas possessions "The Indies" until its empire dissolved in the nineteenth century. Patterns set in this early period of exploration and colonization were to endure as Spain expanded further, even as the region became less important in the overseas empire after the conquests of Mexico and Peru.
In the Caribbean, there was no large-scale Spanish conquest of indigenous peoples, but there was indigenous resistance. Columbus made four voyages to the West Indies as the monarchs granted Columbus vast powers of governance over this unknown part of the world. The crown of Castile financed more of his trans-Atlantic journeys, a pattern they would not repeat elsewhere. Effective Spanish settlement began in 1493, when Columbus brought livestock, seeds, agricultural equipment. The first settlement of La Navidad, a crude fort built on his first voyage in 1492, had been abandoned by the time he returned in 1493. He then founded the settlement of La Isabela on the island they named Hispaniola (now divided into Haiti and the Dominican Republic).
Spanish explorations of other islands in the Caribbean and what turned out to be the mainland of South and Central America occupied them for over two decades. Columbus had promised that the region he now controlled held a huge treasure in the form of gold and spices. Spanish settlers found relatively dense populations of indigenous peoples, who were agriculturalists living in villages ruled by leaders not part of a larger integrated political system. For the Spanish, these populations were there for their exploitation, to supply their own settlements with foodstuffs, but more importantly for the Spanish, to extract mineral wealth or produce another valuable commodity for Spanish enrichment. The labor of dense populations of Tainos were allocated to Spanish settlers in an institution known as the encomienda, where particular indigenous settlements were awarded to individual Spaniards. There was surface gold found in early islands, and holders of encomiendas put the indigenous to work panning for it. For all practical purposes, this was slavery. Queen Isabel put an end to formal slavery, declaring the indigenous to be vassals of the crown, but Spaniards' exploitation continued. The Taino population on Hispaniola went from hundreds of thousands or millions –- the estimates by scholars vary widely—but in the mid-1490s, they were practically wiped out. Disease and overwork, disruption of family life and the agricultural cycle (which caused severe food shortages to Spaniards dependent on them) rapidly decimated the indigenous population. From the Spanish viewpoint, their source of labor and viability of their own settlements was at risk. After the collapse of the Taino population of Hispaniola, Spaniards took to slave raiding and settlement on nearby islands, including Cuba, Puerto Rico, and Jamaica, replicating the demographic catastrophe there as well.
Dominican friar Antonio de Montesinos denounced Spanish cruelty and abuse in a sermon in 1511, which comes down to us in the writings of Dominican friar Bartolomé de las Casas. In 1542 Las Casas wrote a damning account of this genocide, A Short Account of the Destruction of the Indies. It was translated quickly to English and became the basis for the anti-Spanish writings, collectively known as the Black Legend.
The first mainland explorations by Spaniards were followed by a phase of inland expeditions and conquest. In 1500 the city of Nueva Cádiz was founded on the island of Cubagua, Venezuela, followed by the founding of Santa Cruz by Alonso de Ojeda in present-day Guajira peninsula. Cumaná in Venezuela was the first permanent settlement founded by Europeans in the mainland Americas, in 1501 by Franciscan friars, but due to successful attacks by the indigenous people, it had to be refounded several times, until Diego Hernández de Serpa's foundation in 1569. The Spanish founded San Sebastián de Uraba in 1509 but abandoned it within the year. There is indirect evidence that the first permanent Spanish mainland settlement established in the Americas was Santa María la Antigua del Darién.
Spaniards spent over 25 years in the Caribbean where their initial high hopes of dazzling wealth gave way to continuing exploitation of disappearing indigenous populations, exhaustion of local gold mines, initiation of cane sugar cultivation as an export product, and importation of African slaves as a labor force. Spaniards continued to expand their presence in the circum-Caribbean region with expeditions. One was by Francisco Hernández de Córdoba in 1517, another by Juan de Grijalva in 1518, which brought promising news of possibilities there. Even by the mid-1510s, the western Caribbean was largely unexplored by Spaniards. A well-connected settler in Cuba, Hernán Cortés received authorization in 1519 by the governor of Cuba to form an expedition of exploration-only to this far western region. That expedition was to make world history.
Mexico
It wasn’t until Spanish expansion into modern-day Mexico that Spanish explorers were able to find wealth on the scale that they had been hoping for. Unlike Spanish expansion in the Caribbean, which involved limited armed combat and sometimes the participation of indigenous allies, the conquest of central Mexico was protracted and necessitated indigenous allies who chose to participate for their own purposes. The conquest of the Aztec empire involved the combined effort of armies from many indigenous allies, spearheaded by a small Spanish force of conquistadors. The Aztec empire was a fragile confederation of city-states. Spaniards persuaded the leaders of subordinate city-states and one city-state never conquered by the Aztecs, Tlaxcala, to join them in huge numbers, with thousands, perhaps tens of thousands of indigenous warriors. The conquest of central Mexico is one of the best-documented events in world history, with accounts by the expedition leader Hernán Cortés, many other Spanish conquistadors, including Bernal Díaz del Castillo, indigenous allies from the city-states altepetl of Tlaxcala, Texcoco, and Huexotzinco, but also importantly, the defeated of Tenochtitlan, the Aztec capital. What can be called the visions of the vanquished, indigenous accounts written in the sixteenth century, are a rare case of history being written by those other than the victors.
The capture of the Aztec emperor Moctezuma II by Cortés was not a brilliant stroke of innovation, but came from the playbook that the Spanish developed during their period in the Caribbean. The composition of the expedition was the standard pattern, with a senior leader, and participating men investing in the enterprise with the full expectation of rewards if they did not lose their lives. Cortés’s seeking indigenous allies was a typical tactic of warfare: divide and conquer. But the indigenous allies had much to gain by throwing off Aztec rule. For the Spaniards’ Tlaxcalan allies, their crucial support gained them enduring political legacy into the modern era, the Mexican state of Tlaxcala.
The conquest of central Mexico sparked further Spanish conquests, following the pattern of conquered and consolidated regions being the launching point for further expeditions. These were often led by secondary leaders, such as Pedro de Alvarado. Later conquests in Mexico were protracted campaigns with less spectacular results than the conquest of the Aztecs. The Spanish conquest of Yucatán, the Spanish conquest of Guatemala, the conquest of the Tarascans/Purépecha of Michoacan, the war of Mexico's west, and the Chichimeca War in northern Mexico expanded Spanish control over territory and indigenous populations. But not until the Spanish conquest of Peru was the conquest of the Aztecs matched in scope by the victory over the Inca empire in 1532.
Peru
In 1532 at the Battle of Cajamarca a group of Spaniards under Francisco Pizarro and their indigenous Andean Indian auxiliaries native allies ambushed and captured the Emperor Atahualpa of the Inca Empire. It was the first step in a long campaign that took decades of fighting to subdue the mightiest empire in the Americas. In the following years, Spain extended its rule over the Empire of the Inca civilization.
The Spanish took advantage of a recent civil war between the factions of the two brothers Emperor Atahualpa and Huáscar, and the enmity of indigenous nations the Incas had subjugated, such as the Huancas, Chachapoyas, and Cañaris. In the following years the conquistadors and indigenous allies extended control over Greater Andes Region. The Viceroyalty of Perú was established in 1542. The last Inca stronghold was conquered by the Spanish in 1572.
Peru was the last territory in the continent under Spanish rule, which ended on 9 December 1824 at the Battle of Ayacucho (Spanish rule continued until 1898 in Cuba and Puerto Rico).
Chile
Chile was explored by Spaniards based in Peru, where Spaniards found the fertile soil and mild climate attractive. The Mapuche people of Chile, whom the Spaniards called Araucanians, resisted fiercely. The Spanish did establish the settlement of Chile in 1541, founded by Pedro de Valdivia.
Southward colonization by the Spanish in Chile halted after the conquest of Chiloé Archipelago in 1567. This is thought to have been the result of an increasingly harsh climate to the south, and the lack of a populous and sedentary indigenous population to settle among for the Spanish in the fjords and channels of Patagonia. South of the Bío-Bío River the Mapuche successfully reversed colonization with the Destruction of the Seven Cities in 1599–1604. This Mapuche victory laid the foundation for the establishment of a Spanish-Mapuche frontier called La Frontera. Within this frontier the city of Concepción assumed the role of "military capital" of Spanish-ruled Chile. With a hostile indigenous population, no obvious mineral or other exploitable resources, and little strategic value, Chile was a fringe area of colonial Spanish America, hemmed in geographically by the Andes to the east, Pacific Ocean to the west, and indigenous to the south.
New Granada
Between 1537 and 1543, six Spanish expeditions entered highland Colombia, conquered the Muisca Confederation, and set up the New Kingdom of Granada (). Gonzalo Jiménez de Quesada was the leading conquistador with his brother Hernán second in command. It was governed by the president of the Audiencia of Bogotá, and comprised an area corresponding mainly to modern-day Colombia and parts of Venezuela. The conquistadors originally organized it as a captaincy general within the Viceroyalty of Peru. The crown established the audiencia in 1549. Ultimately, the kingdom became part of the Viceroyalty of New Granada first in 1717 and permanently in 1739. After several attempts to set up independent states in the 1810s, the kingdom and the viceroyalty ceased to exist altogether in 1819 with the establishment of Gran Colombia.
Venezuela
Venezuela was first visited by Europeans during the 1490s, when Columbus was in control of the region, and the region as a source for indigenous slaves for Spaniards in Cuba and Hispaniola, since the Spanish destruction of the local indigenous population. There were few permanent settlements, but Spaniards settled the coastal islands of Cubagua and Margarita to exploit the pearl beds. Western Venezuela’s history took an atypical direction in 1528, when Spain’s first Hapsburg monarch, Charles I granted rights to colonize to the German banking family of the Welsers. Charles sought to be elected Holy Roman Emperor and was willing to pay whatever it took to achieve that. He became deeply indebted to the German Welser and Fugger banking families. To satisfy his debts to the Welsers, he granted them the right to colonize and exploit western Venezuela, with the proviso that they found two towns with 300 settlers each and construct fortifications. They established the colony of Klein-Venedig in 1528. They founded the towns of Coro and Maracaibo. They were aggressive in making their investment pay, alienating the indigenous populations and Spaniards alike. Charles revoked the grant in 1545, ending the episode of German colonization.
Río de la Plata and Paraguay
Argentina was not conquered or later exploited in the grand fashion of central Mexico or Peru, since the indigenous population was sparse and there were no precious metals or other valuable resources. Although today Buenos Aires at the mouth of Río de la Plata is a major metropolis, it held no interest for Spaniards and the 1535-36 settlement failed and was abandoned by 1541. Pedro de Mendoza and Domingo Martínez de Irala, who led the original expedition, went inland and founded Asunción, Paraguay, which became the Spaniards' base. A second (and permanent) settlement was established in 1580 by Juan de Garay, who arrived by sailing down the Paraná River from Asunción, now the capital of Paraguay. Exploration from Peru resulted in the foundation of Tucumán in what is now northwest Argentina.
End of era of exploration
The spectacular conquests of central Mexico (1519–21) and Peru (1532) sparked Spaniards' hopes of finding yet another high civilization. Expeditions continued into the 1540s and regional capitals founded by the 1550s. Among the most notable expeditions are Hernando de Soto into southeast North America, leaving from Cuba (1539–42); Francisco Vázquez de Coronado to northern Mexico (1540–42), and Gonzalo Pizarro to Amazonia, leaving from Quito, Ecuador (1541–42). In 1561, Pedro de Ursúa led an expedition of some 370 Spanish (including women and children) into Amazonia to search for El Dorado. Far more famous now is Lope de Aguirre, who led a mutiny against Ursúa, who was murdered. Aguirre subsequently wrote a letter to Philip II bitterly complaining about the treatment of conquerors like himself in the wake of the assertion of crown control over Peru. An earlier expedition that left in 1527 was led by Pánfilo Naváez, who was killed early on. Survivors continued to travel among indigenous groups in the North American south and southwest until 1536. Álvar Núñez Cabeza de Vaca was one of four survivors of that expedition, writing an account of it. The crown later sent him to Asunción, Paraguay to be adelantado there. Expeditions continued to explore territories in hopes of finding another Aztec or Inca empire, with no further success. Francisco de Ibarra led an expedition from Zacatecas in northern New Spain, and founded Durango. Juan de Oñate, is sometimes referred to as "the Last Conquistador", expanded Spanish sovereignty over what is now New Mexico. Like previous conquistadors, Oñate engaged in widespread abuses of the Indian population. Shortly after founding Santa Fe, Oñate was recalled to Mexico City by the Spanish authorities. He was subsequently tried and convicted of cruelty to both natives and colonists and banished from New Mexico for life.
Factors affecting Spanish settlement
Two major factors affected the density of Spanish settlement in the long term. One was the presence or absence of dense, hierarchically organized indigenous populations that could be made to work. The other was the presence or absence of an exploitable resource for the enrichment of settlers. Best was gold, but silver was found in abundance.
The two main areas of Spanish settlement after 1550 were Mexico and Peru, the sites of the Aztec and Inca indigenous civilizations. Equally important, rich deposits of the valuable metal silver. Spanish settlement in Mexico “largely replicated the organization of the area in preconquest times” while in Peru, the center of the Incas was too far south, too remote, and at too high an altitude for the Spanish capital. The capital Lima was built near the Pacific coast. The capitals of Mexico and Peru, Mexico City and Lima came to have large concentrations of Spanish settlers and became the hubs of royal and ecclesiastical administration, large commercial enterprises and skilled artisans, and centers of culture. Although Spaniards had hoped to find vast quantities of gold, the discovery of large quantities of silver became the motor of the Spanish colonial economy, a major source of income for the Spanish crown, and transformed the international economy. Mining regions in both Mexico were remote, outside the zone of indigenous settlement in central and southern Mexico Mesoamerica, but mines in Zacatecas (founded 1548) and Guanajuato (founded 1548) were key hubs in the colonial economy. In Peru, silver was found in a single silver mountain, the Cerro Rico de Potosí, still producing silver in the 21st century. Potosí (founded 1545) was in the zone of dense indigenous settlement, so that labor could be mobilized on traditional patterns to extract the ore. An important element for productive mining was mercury for processing high-grade ore. Peru had a source in Huancavelica (founded 1572), while Mexico had to rely on mercury imported from Spain.
Establishment of early settlements
The Spanish founded towns in the Caribbean, on Hispaniola and Cuba, on a pattern that became spatially similar throughout Spanish America. A central plaza had the most important buildings on the four sides, especially buildings for royal officials and the main church. A checkerboard pattern radiated outward. Residences of the officials and elites were closest to the main square. Once on the mainland, where there were dense indigenous populations in urban settlements, the Spanish could build a Spanish settlement on the same site, dating its foundation to when that occurred. Often they erected a church on the site of an indigenous temple. They replicated the existing indigenous network of settlements, but added a port city. The Spanish network needed a port city so that inland settlements could be connected by sea to Spain. In Mexico, the Hernán Cortés and the men of his expedition founded of the port town of Veracruz in 1519 and constituted themselves as the town councilors, as a means to throw off the authority of the governor of Cuba, who did not authorize an expedition of conquest. start of the conquest of central Mexico; once the Aztec empire was toppled, they founded Mexico City on the ruins of the Aztec capital. Their central official and ceremonial area was built on top of Aztec palaces and temples. In Peru, Spaniards founded the city of Lima as their capital and its nearby port of Callao, rather than the high-altitude site of Cuzco, the center of Inca rule. Spaniards established a network of settlements in areas they conquered and controlled. Important ones include Santiago de Guatemala (1524); Puebla (1531); Querétaro (ca. 1531); Guadalajara (1531–42); Valladolid (now Morelia), (1529–41); Antequera (now Oaxaca(1525–29); Campeche (1541); and Mérida. In southern Central and South America, settlements were founded in Panama (1519); León, Nicaragua (1524); Cartagena (1532); Piura (1532); Quito (1534); Trujillo (1535); Cali (1537) Bogotá (1538); Quito (1534); Cuzco 1534); Lima (1535); Tunja, (1539); Huamanga 1539; Arequipa (1540); Santiago de Chile (1544) and Concepción, Chile (1550). Settled from the south were Buenos Aires (1536, 1580); Asunción (1537); Potosí (1545); La Paz, Bolivia (1548); and Tucumán (1553).
Ecological conquests
The Columbian Exchange was as significant as the clash of civilizations. Arguably the most significant introduction was diseases brought to the Americas, which devastated indigenous populations in a series of epidemics. The loss of indigenous population had a direct impact on Spaniards as well, since increasingly they saw those populations as a source of their own wealth, disappearing before their eyes.
In the first settlements in the Caribbean, the Spaniards deliberately brought animals and plants that transformed the ecological landscape. Pigs, cattle, sheep, goats, and chickens allowed Spaniards to eat a diet with which they were familiar. But the importation of horses transformed warfare for both the Spaniards and the indigenous. Where the Spaniards had exclusive access to horses in warfare, they had an advantage over indigenous warriors on foot. They were initially a scarce commodity, but horse breeding became an active industry. Horses that escaped Spanish control were captured by indigenous; many indigenous also raided for horses. Mounted indigenous warriors were significant foes for Spaniards. The Chichimeca in northern Mexico, the Comanche in the northern Great Plains and the Mapuche in southern Chile and the pampas of Argentina resisted Spanish conquest. For Spaniards, the fierce Chichimecas barred them for exploiting mining resources in northern Mexico. Spaniards waged a fifty-year war (ca. 1550-1600) to subdue them, but peace was only achieved by Spaniards’ making significant donations of food and other commodities the Chichimeca demanded. "Peace by purchase" ended the conflict. In southern Chile and the pampas, the Araucanians (Mapuche) prevented further Spanish expansion. The image of mounted Araucanians capturing and carrying off white women was the embodiment of Spanish ideas of civilization and barbarism.
Cattle multiplied quickly in areas where little else could turn a profit for Spaniards, including northern Mexico and the Argentine pampas. The introduction of sheep production was an ecological disaster in places where they were raised in great numbers, since they ate vegetation to the ground, preventing the regeneration of plants.
The Spanish brought new crops for cultivation. They preferred wheat cultivation to indigenous sources of carbohydrates: casava, maize (corn), and potatoes, initially importing seeds from Europe and planting in areas where plow agriculture could be utilized, such as the Mexican Bajío. They also imported cane sugar, which was a high-value crop in early Spanish America. Spaniards also imported citrus trees, establishing orchards of oranges, lemons, and limes, and grapefruit. Other imports were figs, apricots, cherries, pears, and peaches among others. The exchange did not go one way. Important indigenous crops that transformed Europe were the potato and maize, which produced abundant crops that led to the expansion of populations in Europe. Chocolate (Nahuatl: chocolate) and vanilla were cultivated in Mexico and exported to Europe. Among the foodstuffs that became staples in European cuisine and could be grown there were tomatoes, squashes, bell peppers, and to a lesser extent in Europe chili peppers; also nuts of various kinds: Walnuts, cashews, pecans, and peanuts.
Civil governance
The empire in the Indies was a newly established dependency of the kingdom of Castile alone, so crown power was not impeded by any existing cortes (i.e. parliament), administrative or ecclesiastical institution, or seigneurial group. The crown sought to establish and maintain control over its overseas possessions through a complex, hierarchical bureaucracy, which in many ways was decentralized. The crown asserted is authority and sovereignty of the territory and vassals it claimed, collected taxes, maintained public order, meted out justice, and established policies for governance of large indigenous populations. Many institutions established in Castile found expression in The Indies from the early colonial period. Spanish universities expanded to train lawyer-bureaucrats (letrados) for administrative positions in Spain and its overseas empire.
The end of the Habsburg dynasty in 1700 saw major administrative reforms in the eighteenth century under the Bourbon monarchy, starting with the first Spanish Bourbon monarch, Philip V (r. 1700-1746) and reaching its apogee under Charles III (r. 1759-1788). The reorganization of administration has been called "a revolution in government." Reforms sought to centralize government control through reorganization of administration, reinvigorate the economies of Spain and the Spanish empire through changes in mercantile and fiscal policies, defend Spanish colonies and territorial claims through the establishment of a standing military, undermine the power of the Catholic church, and rein in the power of the American-born elites.
Early institutions of governance
The crown relied on ecclesiastics as important councilors and royal officials in the governance of their overseas territories. Archbishop Juan Rodríguez de Fonseca, Isabella's confessor, was tasked with reining in Columbus's independence. He strongly influenced the formulation of colonial policy under the Catholic Monarchs, and was instrumental in establishing the Casa de Contratación (House of Trade) (1503), which enabled crown control over trade and immigration. Ovando fitted out Magellan's voyage of circumnavigation, and became the first President of the Council of the Indies in 1524. Ecclesiastics also functioned as administrators overseas in the early Caribbean period, particularly Frey Nicolás de Ovando, who was sent to investigate the administration of Francisco de Bobadilla, the governor appointed to succeed Christopher Columbus. Later ecclesiastics served as interim viceroys, general inspectors (visitadores), and other high posts.
House of Trade
The crown established control over trade and emigration to the Indies with the 1503 establishment the Casa de Contratación (House of Trade) in Seville. Ships and cargoes were registered, and emigrants vetted to prevent migration of anyone not of old Christian heritage, (i.e., with no Jewish or Muslim ancestry), and facilitated the migration of families and women. In addition, the Casa de Contratación took charge of the fiscal organization, and of the organization and judicial control of the trade with the Indies.
Assertion of royal control in the early Caribbean
The politics of asserting royal authority to oppose Columbus resulted in the suppression of his privileges and the creation of territorial governance under royal authority. These governorates, also called as provinces, were the basic of the territorial government of the Indies, and arose as the territories were conquered and colonized. To carry out the expedition (entrada), which entailed exploration, conquest, and initial settlement of the territory, the king, as sovereign, and the appointed leader of an expedition (adelantado) agreed to an itemized contract (capitulación), with the specifics of the conditions of the expedition in a particular territory. The individual leaders of expeditions assumed the expenses of the venture and in return received as reward the grant from the government of the conquered territories; and in addition, they received instructions about treating the indigenous peoples.
After the end of the period of conquests, it was necessary to manage extensive and different territories with a strong bureaucracy. In the face of the impossibility of the Castilian institutions to take care of the New World affairs, other new institutions were created.
As the basic political entity it was the governorate, or province. The governors exercised judicial ordinary functions of first instance, and prerogatives of government legislating by ordinances. To these political functions of the governor, it could be joined the military ones, according to military requirements, with the rank of Captain general. The office of captain general involved to be the supreme military chief of the whole territory and he was responsible for recruiting and providing troops, the fortification of the territory, the supply and the shipbuilding.
Beginning in 1522 in the newly conquered Mexico, government units in the Spanish Empire had a royal treasury controlled by a set of oficiales reales (royal officials). There were also sub-treasuries at important ports and mining districts. The officials of the royal treasury at each level of government typically included two to four positions: a tesorero (treasurer), the senior official who guarded money on hand and made payments; a contador (accountant or comptroller), who recorded income and payments, maintained records, and interpreted royal instructions; a factor, who guarded weapons and supplies belonging to the king, and disposed of tribute collected in the province; and a veedor (overseer), who was responsible for contacts with native inhabitants of the province, and collected the king's share of any war booty. The veedor, or overseer, position quickly disappeared in most jurisdictions, subsumed into the position of factor. Depending on the conditions in a jurisdiction, the position of factor/veedor was often eliminated, as well.
The treasury officials were appointed by the king, and were largely independent of the authority of the viceroy, audiencia president or governor. On the death, unauthorized absence, retirement or removal of a governor, the treasury officials would jointly govern the province until a new governor appointed by the king could take up his duties. Treasury officials were supposed to be paid out of the income from the province, and were normally prohibited from engaging in income-producing activities.
Spanish law and indigenous peoples
The protection of the indigenous populations from enslavement and exploitation by Spanish settlers were established in the Laws of Burgos, 1512–1513. The laws were the first codified set of laws governing the behavior of Spanish settlers in the Americas, particularly with regards to treatment of native Indians in the institution of the encomienda. They forbade the maltreatment of natives, and endorsed the Indian Reductions with attempts of conversion to Catholicism. Upon their failure to effectively protect the indigenous and following the Spanish conquest of the Aztec Empire and the Spanish conquest of Peru, more stringent laws to control conquerors' and settlers' exercise of power, especially their maltreatment of the indigenous populations, were promulgated, known as the New Laws (1542). The crown aimed to prevent the formation of an aristocracy in the Indies not under crown control.
Queen Isabel was the first monarch that laid the first stone for the protection of the indigenous peoples in her testament in which the Catholic monarch prohibited the enslavement of the indigenous peoples of the Americas. Then the first such in 1542; the legal thought behind them was the basis of modern International law.
The Valladolid debate (1550–1551) was the first moral debate in European history to discuss the rights and treatment of a colonized people by colonizers. Held in the Colegio de San Gregorio, in the Spanish city of Valladolid, it was a moral and theological debate about the colonization of the Americas, its justification for the conversion to Catholicism and more specifically about the relations between the European settlers and the natives of the New World. It consisted of a number of opposing views about the way natives were to be integrated into colonial life, their conversion to Christianity and their rights and obligations. According to the French historian Jean Dumont The Valladolid debate was a major turning point in world history “In that moment in Spain appeared the dawn of the human rights”.
The indigenous populations in the Caribbean became the focus of the crown in its roles as sovereigns of the empire and patron of the Catholic Church. Spanish conquerors holding grants of indigenous labor in encomienda ruthlessly exploited them. A number of friars in the early period came to the vigorous defense of the indigenous populations, who were new converts to Christianity. Prominent Dominican friars in Santo Domingo, especially Antonio de Montesinos and Bartolomé de Las Casas denounced the maltreatment and pressed the crown to act to protect the indigenous populations. The crown enacted Laws of Burgos (1513) and the Requerimiento to curb the power of the Spanish conquerors and give indigenous populations the opportunity to peacefully embrace Spanish authority and Christianity. Neither was effective in its purpose. Las Casas was officially appointed Protector of the Indians and spent his life arguing forcefully on their behalf. The New Laws of 1542 were the result, limiting the power of encomenderos, the private holders of grants to indigenous labor previously held in perpetuity. The crown was open to limiting the inheritance of encomiendas in perpetuity as a way to extinguish the coalescence of a group of Spaniards impinging on royal power. In Peru, the attempt of the newly appointed viceroy, Blasco Núñez Vela, to implement the New Laws so soon after the conquest sparked a revolt by conquerors against the viceroy and the viceroy was killed in 1546. In Mexico, Don Martín Cortés, the son and legal heir of conqueror Hernán Cortés, and other heirs of encomiendas led a failed revolt against the crown. Don Martín was sent into exile, while other conspirators were executed.
Indigenous peoples and colonial rule
The conquest of the Aztec and Inca empires ended their sovereignty over their respective territorial expanses, replaced by the Spanish Empire. However, the Spanish Empire could not have ruled these vast territories and dense indigenous populations without utilizing the existing indigenous political and economic structures at the local level. A key to this was the cooperation between most indigenous elites with the new ruling structure. The Spanish recognized indigenous elites as nobles and gave them continuing standing in their communities. Indigenous elites could use the noble titles don and doña, were exempt from the head-tax, and could entail their landholdings into cacicazgos. These elites played an intermediary role between the Spanish rulers and indigenous commoners. Since in central and southern Mexico (Mesoamerica) and the highland Andes indigenous peoples had existing traditions of payment of tribute and required labor service, the Spanish could tap into these systems to extract wealth. There were few Spaniards and huge indigenous populations, so utilizing indigenous intermediaries was a practical solution to the incorporation of the indigenous population into the new regime of rule. By maintaining hierarchical divisions within communities, indigenous noblemen were the direct interface between the indigenous and Spanish spheres and kept their positions so long as they continued to be loyal to the Spanish crown.
The exploitation and demographic catastrophe that indigenous peoples experienced from Spanish rule in the Caribbean also occurred
as Spaniards expanded their control over territories and their indigenous populations. The crown set the indigenous communities legally apart from Spaniards (as well as Blacks), who comprised the República de Españoles, with the creation of the República de Indios. The crown attempted to curb Spaniards' exploitation, banning Spaniards' bequeathing their private grants of indigenous communities' tribute and encomienda labor in 1542 in the New Laws. In Mexico, the crown established the General Indian Court (Juzgado General de Indios), which heard disputes affecting individual indigenous as well as indigenous communities. Lawyers for these cases were funded by a half-real tax, an early example of legal aid for the poor. A similar legal apparatus was set up in Lima.
The Spaniards systematically attempted to transform structures of indigenous governance to those more closely resembling those of Spaniards, so the indigenous city-state became a Spanish town and the indigenous noblemen who ruled became officeholders of the town council (cabildo). Although the structure of the indigenous cabildo looked similar to that of the Spanish institution, its indigenous functionaries continued to follow indigenous practices. In central Mexico, there exist minutes of the sixteenth-century meetings in Nahuatl of the Tlaxcala cabildo. Indigenous noblemen were particularly important in the early period of colonization, since the economy of the encomienda was initially built on the extraction of tribute and labor from the commoners in their communities. As the colonial economy became more diversified and less dependent on these mechanisms for the accumulation of wealth, the indigenous noblemen became less important for the economy. However, noblemen became defenders of the rights to land and water controlled by their communities. In colonial Mexico, there are petitions to the king about a variety of issues important to particular indigenous communities when the noblemen did not get a favorable response from the local friar or priest or local royal officials.
Works by historians in the twentieth and twenty-first centuries have expanded the understanding of the impact of the Spanish conquest and changes during the more than three hundred years of Spanish rule. There are many such works for Mexico, often drawing on native-language documentation in Nahuatl, Only the most valuable low bulk products would be exported.
Agricultural export products
Cacao beans for chocolate emerged as an export product as Europeans developed a taste for sweetened chocolate. Another important export product was cochineal, a color-fast red dye made from dried insects living on cacti. It became the second-most valuable export from Spanish America after silver.
19th century
During the Napoleonic Peninsular War in Europe between France and Spain, assemblies called juntas were established to rule in the name of Ferdinand VII of Spain.
The Libertadores (Spanish and Portuguese for "Liberators") were the principal leaders of the Spanish American wars of independence. They were predominantly criollos (Americas-born people of European ancestry, mostly Spanish or Portuguese), bourgeois and influenced by liberalism and in some cases with military training in the mother country.
In 1809 the first declarations of independence from Spanish rule occurred in the Viceroyalty of Peru. The first two were in the Alto Perú, present-day Bolivia, at Charcas (present day Sucre, May 25), and La Paz (July 16); and the third in present-day Ecuador at Quito (August 10). In 1810 Mexico declared independence, with the Mexican War of Independence following for over a decade. In 1821 Treaty of Córdoba established Mexican independence from Spain and concluded the War. The Plan of Iguala was part of the peace treaty to establish a constitutional foundation for an independent Mexico.
These began a movement for colonial independence that spread to Spain's other colonies in the Americas. The ideas from the French and the American Revolution influenced the efforts. All of the colonies, except Cuba and Puerto Rico, attained independence by the 1820s. The British Empire offered support, wanting to end the Spanish monopoly on trade with its colonies in the Americas.
In 1898, the United States achieved victory in the Spanish–American War with Spain, ending the Spanish colonial era. Spanish possession and rule of its remaining colonies in the Americas ended in that year with its sovereignty transferred to the United States. The United States took occupation of Cuba, the Philippines, and Puerto Rico. Puerto Rico continues to be a possession of the United States, now officially continues as a self-governing unincorporated territory.
In popular culture
In the twentieth century, there have been a number of films depicting the life of Christopher Columbus. One in 1949 stars Frederic March as Columbus. With the 1992 commemoration (and critique) of Columbus, more cinematic and television depictions of the era appeared, including a TV miniseries with Gabriel Byrne as Columbus. Christopher Columbus: The Discovery (1992) has Georges Corroface as Columbus with Marlon Brando as Tomás de Torquemada and Tom Selleck as King Ferdinand and Rachel Ward as Queen Isabela. 1492: The Conquest of Paradise stars Gérard Depardieu as Columbus and Sigorney Weaver as Queen Isabel. A 2010 film, Even the Rain starring Gael García Bernal, is set in modern Cochabamba, Bolivia during the Cochabamba Water War, following a film crew shooting a controversial life of Columbus. A 1995 Bolivian-made film is in some ways similar to Even the Rain is To Hear the Birds Singing, with a modern film crew going to an indigenous settlement to shot a film about the Spanish conquest and end up replicating aspects of the conquest.
For the conquest of Mexico, a 2019 an eight-episode Mexican TV miniseries Hernán depicts the conquest of Mexico. Other notable historical figures in the production are Malinche, Cortés cultural translator, and other conquerors Pedro de Alvarado, Cristóbal de Olid, Bernal Díaz del Castillo. Showing the indigenous sides are Xicotencatl, a leader of the Spaniards' Tlaxcalan allies, and Aztec emperors Moctezuma II and Cuitlahuac. The story of Doña Marina, also known as Malinche, was the subject of a Mexican TV miniseries in 2018. A major production in Mexico was the 1998 film, The Other Conquest, which focuses on a Nahua in the post-conquest era and the evangelization of central Mexico.
The epic journey of Álvar Núñez Cabeza de Vaca has been portrayed in a 1991 feature-length Mexican film, Cabeza de Vaca. The similarly epic and dark journey of Lope de Aguirre was made into a film by Werner Herzog, Aguirre, the Wrath of God (1972), starring Klaus Kinsky.
The Mission was a 1996 film idealizing a Jesuit mission to the Guaraní in the territory disputed between Spain and Portugal. The film starred Robert De Niro, Jeremy Irons, and Liam Neeson and It won an Academy Award.
The life of seventeenth-century Mexican nun, Sor Juana Inés de la Cruz, renowned in her lifetime, has been portrayed in a 1990 Argentine film, I, the Worst of All and in a TV miniseries Juana Inés. Seventeenth-century Mexican trickster, Martín Garatuza was the subject of a late nineteenth-century novel by Mexican politician and writer, Vicente Riva Palacio. In the twentieth century, Garatuza's life was the subject of a 1935 film and a 1986 telenovela, Martín Garatuza.
For the independence era, the 2016 Bolivian-made film made about Mestiza independence leader Juana Azurduy de Padilla is part of the recent recognition of her role in the independence of Argentina and Bolivia.
Dominions
North America, Central America
Viceroyalty of New Spain (1535–1821)
Las Californias
Nuevo Reino de León
Territorio de Nutka
Nuevo Santander
Nueva Vizcaya
Santa Fe de Nuevo México
Nueva Extremadura
Nueva Galicia
Captaincy General of Guatemala
La Luisiana (until 1801).
Spanish Florida (until 1819).
Captaincy General of Cuba (until 1898)
Captaincy General of Puerto Rico (until 1898)
Santo Domingo (last Spanish rule 1861–1865)
Captaincy General of the Philippines (administered by New Spain from 1565 to 1821, then after Mexican independence transferred to and directly administered by Madrid until 1898)
South America
Viceroyalty of Perú (1542–1824)
Captaincy General of Chile (1541–1818)
Viceroyalty of New Granada (1717–1819)
Captaincy General of Venezuela
Viceroyalty of the Río de la Plata (1776–1814)
See also
Atlantic World
Cartography of Latin America
Castas
Spanish Empire
Spanish American Enlightenment
Black legend (Spain)
Hapsburg Spain
List of largest empires
Population history of indigenous peoples of the Americas
Valladolid debate
Viceroyalty of New Spain
Viceroyalty of Peru
Notes
References
Further reading
Altman, Ida and David Wheat, eds. The Spanish Caribbean and the Atlantic World in the Long Sixteenth Century. Lincoln: University of Nebraska Press 2019.
Brading, D. A., The First America: the Spanish Monarchy, Creole Patriots, and the Liberal State, 1492–1867 (Cambridge: Cambridge University Press, 1993).
Burkholder, Mark A. and Lyman L. Johnson. Colonial Latin America, 10th ed. Oxford University Press 2018.
Chipman, Donald E. and Joseph, Harriett Denise. Spanish Texas, 1519–1821. (Austin: University of Texas Press, 1992)
Clark, Larry R. Imperial Spain’s Failure to Colonize Southeast North America: 1513 - 1587 (TimeSpan Press 2017) updated edition to Spanish Attempts to Colonize Southeast North America (McFarland Publishing, 2010)
Elliott, J. H. Empires of the Atlantic World: Britain and Spain in America, 1492–1830 (New Haven: Yale University Press, 2007)
Gibson, Carrie. Empire's Crossroads: A History of the Caribbean from Columbus to the Present Day (New York: Grove Press, 2015)
Gibson, Carrie. El Norte: The Epic and Forgotten Story of Hispanic North America (New York: Atlantic Monthly Press, 2019)
Gibson, Charles. Spain in America. New York: Harper and Row 1966.
Goodwin, Robert. América: The Epic Story of Spanish North America, 1493-1898 (London: Bloomsbury Publishing, 2019)
Hanke, Lewis. The Spanish Struggle for Justice in the Conquest of America (Boston: Little, Brown, and Co., 1965).
Haring, Clarence H. The Spanish Empire in America (London: Oxford University Press, 1947)
Kamen, Henry. Empire: How Spain Became a World Power, 1492–1763 (HarperCollins, 2004)
Lockhart, James and Stuart B. Schwartz. Early Latin America: A History of Colonial Spanish America and Brazil. New York: Cambridge University Press 1983.
Merriman, Roger Bigelow. The Rise of the Spanish Empire in the Old World and in the New (4 Vol. London: Macmillan, 1918) online free
Portuondo, María M. Secret Science: Spanish Cosmography and the New World (Chicago: Chicago UP, 2009).
Restall, Matthew and Fernández-Armesto, Felipe. The Conquistadors: A Very Short Introduction (2012) excerpt and text search
Restall, Matthew and Kris Lane. Latin America in Colonial Times. New York: Cambridge University Press 2011.
Thomas, Hugh. Rivers of Gold: the rise of the Spanish Empire, from Columbus to Magellan (2005)
Weber, David J. The Spanish Frontier in North America (Yale University Press, 1992)
Historiography
Cañeque, Alejandro "The Political and Institutional History of Colonial Spanish America" History Compass (April 2013) 114 pp 280–291,
Herzog, Tamar (2018). "Indigenous Reducciones and Spanish Resettlement: Placing Colonial and European History in Dialogue". Ler Historia (72): 9-30. doi:10.4000/lerhistoria.3146. ISSN 0870-6182.
Weber, David J. "John Francis Bannon and the Historiography of the Spanish Borderlands: Retrospect and Prospect." Journal of the Southwest (1987): 331–363. See John Francis Bannon
Weber, David J. “The Spanish Borderlands, Historiography Redux.” The History Teacher, vol. 39, no. 1, 2005, pp. 43–56. JSTOR, online.
External links
Spanish Exploration and Conquest of North America
Spain in America (Edward Gaylord Bourne, 1904) 'Spain in America'
The Spanish Borderlands (Herbert E. Bolton, 1921) 'The Spanish Borderlands'
Indigenous Puerto Rico DNA evidence upsets established history
“The Political Force of Images,” Vistas: Visual Culture in Spanish America, 1520–1820.
Spanish exploration in the Age of Discovery
16th century in North America
16th century in Central America
16th century in South America
16th century in the Spanish Empire
History of indigenous peoples of the Americas
History of the Colony of Santo Domingo
Former empires
Americas
History of the Americas | false | [
"The Yucatan spider monkey (Ateles geoffroyi yucatanensis) is a disputed subspecies of Geoffroy's spider monkey, and is one of the largest types of New World monkey. It inhabits Mexico, Guatemala and Belize. It is a social animal, living in groups of 20-42 members.\n\nThe subspecies is no longer recognised by the International Union for Conservation of Nature (IUCN) or the Integrated Taxonomic Information System (ITIS), it is listed as a junior synonym of the Mexican spider monkey (Ateles geoffroyi vellerosus).\n\nDescription \nThe Yucatan spider monkey weighs around 9 kg, making it one of the largest of the New World monkeys. It has long arms and a prehensile tail, which can support its own weight. The body is long and slender and covered with black hair, which is coarse and often looks matted. The fur is somewhat paler than that of the Mexican spider monkey. There are usually tan-coloured markings around the eyes and chin, and whiskers around the head area.\n\nBehaviour and ecology \nThe Yucatan spider monkey is very social, living in groups of anywhere between 10 and 100 members (20-42 members on average). These groups are typically dominated by females, one of whom plans foraging routes for the rest of the group.\n\nMale-male relationship have also been documented. In these there is a focus on physical behaviour such as grooming, embracing, arm-wrapping, and grappling. Though most of these actions are reciprocated between the two males, the most successful bonds tend to be between males of similar ages, with pronounced differences in male-male relationships with a larger age gap (between individuals of <10 years and ≥ 14 years). Actions performed between males of similar ages showed that the affection was beneficial for both of the monkeys, while in the relationships with larger age differences, a lot more affection was given by the younger male than was received, possibly showing the value of respect of elders in groups.\n\nReproduction and lifespan \nYucatan spider monkeys reach an average age of 25 years in wild, while in captivity this is closer to 35 years. A female Yucatan spider monkey will produce a baby once every few years. The infant monkey is completely black, and will cling to its mother’s back for the first two years of its life. It will also only start eating fruit at around two years old.\n\nDiet \nThe Yucatan monkey is frugivorous, with a diet consisting of around 90% fruit and 10% eggs and insects. In captivity, the Yucatan spider monkey’s diet generally consists of fruits, dog food, bread and a few vegetables, such as carrots and lettuce.\n\nThe Yucatan spider monkey moves in straight lines towards its food, and is able to orient its movement to foraging areas invisible from its current vantage point. Individuals consistently plan out foraging areas ahead of time.\n\nForaging behaviour after a natural disaster (a hurricane) showed increased splitting up into smaller sub-groups. Less time was spent moving, and the main food source changed from fruit to leaves.\n\nConservation \nThe Yucatan spider monkey is classified as Endangered by the IUCN due to ongoing rapid population decline (totalling well over 5-% over three generations) caused by continued habitat loss.\n\nReferences\n\nYucatan spider monkey\nMammals of Mexico\nPrimates of Central America\nNatural history of the Yucatán Peninsula\nEndangered fauna of North America\nEndangered biota of Mexico\nYucatan spider monkey",
"The blue-winged amazon (Amazona gomezgarzai) is a proposed Central American species of parrot living in the Yucatan Peninsula, Mexico. It was described in 2017 in the journal PeerJ; however, its existence as a distinct wild species native to the Yucatan Peninsula has been questioned. A critique published in the journal Zootaxa, identified numerous weaknesses with the description, and suggested that the most plausible hypothesis was that the two specimens on which the description was based, were hybrids.\n\nDescription\nThe proposed species was described as having an average body length of 25 cm and a body weight of 200 g. It is characterized by distinct sexual dimorphism, with males larger than females. Depending on the sex, wing length is 170–175 mm and the tail length is 84–90 mm. Most of the body is covered with green plumage. However, these parrots differ in size and detail of the colors of the plumage from other Amazons found on the Yucatan peninsula (i.e., the white-fronted amazon - Amazona albifrons and the Yucatan amazon - Amazona xantholora).\n\nThe forehead and feathers around the male's eye are red. In females, red feathers are restricted to the forehead. Remiges (primaries and secondaries) are blue and green. The tail feathers are green with blue and green tips and red spots on the inner side.\n\nCall\nThey produce distinctive loud, sharp and repetitive sounds that resemble a hawk, a natural predator of these birds. It is possible that this sound is used to alert other birds. The syllables are 3-5 times longer than those of white-fronted amazon and Yucatan amazon.\n\nBehaviour\nThey live in groups up to a dozen individuals. Couples and their adult offspring tend to remain together as a group.\n\nTaxonomy\nGenetic analyzes based on mitochondrial DNA indicate close affinity with the white-fronted amazon and suggests that the blue-winged amazon could be a subspecies of it. However, this may be due to the introgression of mitochondrial DNA or too little variation in the loci examined. It is possible that the new species has evolved relatively recently (about 120,000 years ago) within one of the white-fronted amazon populations.\n\nThe proposed species was reported as discovered in 2014 by veterinarian and researcher at the Autonomous University of Nuevo León (UANL), Miguel Ángel Gómez Garza, during one of his expeditions on the Yucatan Peninsula and was described by Tony Silva and colleagues. The species has yet to be recognized by leading taxonomic authorities including the International Union for the Conservation of Nature (IUCN), the International Ornithologists' Union (IOU), or the American Ornithological Society (AOS).\n\nControversy\nOne of the authors, Tony Silva, was prosecuted in Chicago in March 1996, because he attempted to illegally introduce hundreds of exotic birds to the United States from Mexico and Central America, and, the original collector was reportedly and assessor in 2019 of Roberto Chavarria Gallegos, the then director of Parks and Wildlife of Nuevo Leon, who was denounced for the supposed illegal acquisition of 6 flamingos for the Zoo \"La Pastora\" from a suspected phantom wildlife trader.\n\nReferences\n\nFurther reading \n \n \n \n \n\nAmazon parrots\nBirds described in 2017\nControversial parrot taxa"
]
|
[
"Art Bell",
"Broadcasting career"
]
| C_154754ebaa4247baae64e5d0cc428c6a_1 | Why did bell screen calls? | 1 | Why did Art Bell screen calls? | Art Bell | During the early 1970s, Bell lived in Watsonville, California and worked for KIDD 630 AM in Monterey, California. He also worked for KMST channel 46. First a rock music disc jockey before moving into talk radio, Bell's original 1978 late-night Las Vegas program on KDWN was a political call-in show under the name West Coast AM. In 1988, Bell and Alan Corberth renamed the show Coast to Coast AM and moved its broadcast from the Plaza Hotel in Las Vegas to Bell's home in Pahrump. Bell abandoned conventional political talk in favor of topics such as gun control and conspiracy theories, leading to a significant bump in his overnight ratings. The show's focus again shifted significantly after the Oklahoma City bombing in 1995. Many in the media did not want to be blamed for inciting anti-government or militia actions like the bombing. Subsequently, Bell discussed off-beat topics like the paranormal, the occult, UFOs, protoscience and pseudoscience. During his tenure at KDWN Bell met and married his third wife, Ramona, who later handled production and management duties for the program. According to The Washington Post in its February 23, 1997 edition, Bell was at the time America's highest-rated late-night radio talk show host, broadcast on 328 stations. According to The Oregonian in its June 22, 1997 edition, Coast to Coast AM with Art Bell was on 460 stations. At its initial peak in popularity, Coast to Coast AM was syndicated on more than 500 radio stations and claimed 15 million listeners nightly. Bell's studios were located in his home in the town of Pahrump, located in Nye County, Nevada; hence the voice-over catchphrase, "from the Kingdom of Nye". CANNOTANSWER | CANNOTANSWER | Arthur William Bell III (June 17, 1945 – April 13, 2018) was an American broadcaster and author. He was the founder and the original host of the paranormal-themed radio program Coast to Coast AM, which is syndicated on hundreds of radio stations in the United States and Canada. He also created and hosted its companion show Dreamland. Coast to Coast still airs nightly.
In 2003, Bell semi-retired from Coast to Coast AM. During the following four years, he hosted the show for many weekends on Premiere Networks. He announced his retirement from weekend hosting in 2007, but occasionally served as a guest host through to 2010. Classic episodes of Coast to Coast AM can be heard in some radio markets on Saturday nights under the name Somewhere in Time hosted by Bell. He started a new nightly show, Art Bell's Dark Matter, on Sirius XM Radio, that aired for six weeks in 2013.
In 2015, he returned to radio with a new show Midnight in the Desert, which was available online via TuneIn as well as some terrestrial radio stations. He announced what would be his final retirement on December 11, 2015, citing security concerns at his home. He said that he and his family were subjected to repeated intrusions on his property in Pahrump, Nevada. The intrusions included gunshots, and he was in fear for his family's safety. He chose to leave the air and along with it public life because he believed that the intruder or intruders wanted him off the air.
Bell was the founder and original owner of Pahrump-based radio station KNYE 95.1 FM. His broadcast studio and transmitter were located near his home in Pahrump, where he also hosted Coast to Coast AM.
Early life
Arthur William Bell III was born in North Carolina on June 17, 1945. Sources differ on whether he was born in Jacksonville or Camp Lejeune. He had a Lutheran background.
Bell was always interested in radio; at the age of 13, he became a licensed amateur radio operator. Bell held an Amateur Extra Class license, which is in the top U.S. Federal Communications Commission license class. His call sign was W6OBB.
Bell served in the U.S. Air Force as a medic during the Vietnam War and in his free time operated a pirate radio station at Amarillo Air Force Base. He would make a point of playing anti-war music (like "Eve of Destruction" and "Fortunate Son") that was not aired on the American Forces Network.
After leaving military service, he remained in Asia, where he lived on the Japanese island of Okinawa. He worked as a disc jockey for KSBK, which was the only non-military English-language station in Japan. While there, he set a Guinness World Record by staying on the air for 116 hours and 15 minutes. The money raised there allowed Bell to charter a Douglas DC-8, fly to Vietnam, and rescue 130 Vietnamese orphans stranded in Saigon at the war's end. They were eventually brought to the United States and adopted by American families.
Bell returned to the United States and studied engineering at the University of Maryland. He dropped out and returned to radio as a board operator and chief engineer, and had the opportunity to be on the air a few times. For several years, he worked behind and in front of the microphone. After a period of working in cable television, in 1986 the 50,000-watt KDWN in Las Vegas, Nevada, offered Bell a five-hour time slot in the middle of the night. Syndication of his program to other radio stations began in 1993.
Broadcasting career
Bell was a rock music disc jockey before he moved into talk radio. His original 1978 late-night Las Vegas program on KDWN was a political call-in show under the name West Coast AM. In 1988, Bell and Alan Corberth renamed the show Coast to Coast AM and moved its broadcast from the Plaza Hotel in Las Vegas to Bell's home in Pahrump.
Bell abandoned conventional political talk in favor of topics such as gun control and conspiracy theories, leading to a significant bump in his overnight ratings. The show's focus again shifted significantly after the Oklahoma City bombing in 1995. Many in the media did not want to be blamed for inciting anti-government or militia actions like the bombing. Subsequently, Bell discussed off-beat topics such as the paranormal, the occult, UFOs, protoscience and pseudoscience. During his tenure at KDWN Bell met and married his third wife, Ramona, who later handled production and management duties for the program.
An article in the February 23, 1997, edition of The Washington Post said that Bell was currently America's highest-rated late-night radio talk show host, broadcast on 328 stations. According to The Oregonian in its June 22, 1997, edition, Coast to Coast AM with Art Bell was on 460 stations. At its initial peak in popularity, Coast to Coast AM was syndicated on more than 500 radio stations and claimed 15 million listeners nightly. Bell's studios were located in his home in the town of Pahrump, located in Nye County, Nevada; hence, the voice-over catchphrase, "from the Kingdom of Nye".
Critical reputation
Fans regarded Bell as a master showman, noting that he called his show "absolute entertainment" and expressly said he did not necessarily accept every guest or caller's claims, but only offered a forum where they would not be openly ridiculed. Bell was one of only a few talk show hosts who did not screen incoming calls, but this changed in 2006. On the October 31, 2006, edition of Coast to Coast AM, (renamed for the night to Ghost to Ghost AM), Bell was asked why he was now using call-screeners. The explanation given was that for him to use un-screened open phone lines while in the Philippines would require listeners to call there directly at enormous cost to them. Art admitted that he should have chosen New Zealand instead of the Philippines as an alternative to the USA. He said, "It was a bad choice, and I'll regret it, one day, in the near future."
Bell has earned praise from those who declare that the paranormal deserves a mature outlet of discussion in the media as well as the approval of those simply amused by the nightly parade of bizarre, typically fringe topics. Ed Dames, Richard C. Hoagland, Terence McKenna, Dannion Brinkley, David John Oates, and Robert Bigelow were all regular guests. Some of Bell's regular guests continue to appear on Coast to Coast AM now hosted by George Noory.
Bell's own interests, however, extended beyond the paranormal. He interviewed singers Crystal Gayle, Willie Nelson, Merle Haggard, Eric Burdon and Gordon Lightfoot, comedian George Carlin, writer Dean Koontz, hard science fiction writer Greg Bear, X-Files writer/creator Chris Carter, TV talk host Regis Philbin, Star Trek actor Leonard Nimoy, actor Dan Aykroyd, former Luftwaffe pilot Bruno Stolle, actress Jane Seymour, actress Ellen Muth, actor and TV host Robert Stack, human rights lawyer John Loftus, legendary disc jockey Casey Kasem, UFC commentator Joe Rogan and frequent guests physicist Michio Kaku and SETI astronomers Seth Shostak and H. Paul Shuch.
Beginning in late 1996, Bell was criticized for reporting rumors that Comet Hale–Bopp was being trailed by a UFO. Some speculated that members of the Heaven's Gate group committed mass suicide based on rumors Bell aired, but others dismissed the idea, noting that the Heaven's Gate website stated: "Whether Hale-Bopp has a 'companion' or not is irrelevant from our perspective." Susan Wright reported, however, that Bell was also "one of the first to publicize expert opinions refuting the 'alien' companion" said to have been shadowing Hale-Bopp, such as that published in 1998 from the Jet Propulsion Laboratory suggesting that "the satellite's main diameter is ~30 km," (20 miles) and accordingly natural rather than artificial.
Callers and guests
On August 15, 1996, Bell interviewed William Luther Pierce, author of The Turner Diaries, in which Pierce—writing under the pseudonym "Andrew Macdonald"—depicted a race war leading to the extermination of Jews, non-whites and gay people. Pierce denounced interracial marriage, calling white people who married non-whites "traitors to the white race"—apparently unaware that Bell himself was in an interracial marriage, as his then-wife, Ramona Bell, was an Asian-American of Filipino descent (his wife Airyn whom he married after Ramona's death was also Filipino).
One of Bell's Coast to Coast interviews occurred in 1997 with Mel Waters who discussed what is known as "Mel's Hole" in rural Washington State. The opening is said to be a fantastically deep vertical shaft which possesses bizarre properties. No such hole has ever been physically located by anyone attempting to verify this story.
A caller in 2000 named "Daniel Murray" claimed he was a Majestic Agent from Downey, California.
This call served as the inspiration for the alternate reality game Majestic.
A caller in September 1997 claimed he had discovered an unknown threat and conspiracy from Area 51, and his life was in danger by even talking about it. For unknown reasons, Bell lost connection to his transmitter during the call and, just as the caller's voice became more and more agitated, the entire broadcast dramatically went silent. A confused Bell restored the signal about 20 minutes later. The caller (or someone sounding similar) called in on a subsequent show and admitted it had been an elaborate hoax, which fooled many. Audio from the call was used in the Tool song "Faaip De Oiad," on the album Lateralus.
Amateur radio
Bell became a licensed amateur radio operator at the age of 13. His first call sign was KN3JOX, first listed in the Winter 1959 edition of the Radio Amateur Callbook. He soon upgraded to K3JOX, and he later held W2CKS, first listed in the Spring 1967 Callbook. Bell held an Amateur Extra Class license, which is the highest U.S. Federal Communications Commission amateur license class. His call sign was W6OBB.
Bell passed the Philippines amateur radio exams and became a Philippine Class A amateur radio operator with the call sign of 4F1AB. While in the Philippines, Bell was active on 40-10 Meters, as well as 144.600 MHz simplex in Manila.
Honors
In 1998, Bell was named as recipient of the Snuffed Candle Award by the Committee for Skeptical Inquiry's Council for Media Integrity. Bell was recognized by the Council for "perpetuating conspiracy myths... and mystery mongering". When Bell learned of the award he replied "A mind should not be so open that the brains fall out, however it should not be so closed that whatever gray matter which does reside may not be reached. On behalf of those with the smallest remaining open aperture, I accept with honor."
In August 2006 Art was inducted into the Nevada Broadcasters Association Hall of Fame. He did not attend the presentation.
On March 10, 2007, Bell would be honored with the News/Talk Radio Lifetime Achievement Award from the trade publication Radio & Records in Los Angeles.
Bell was inducted into the National Radio Hall of Fame in 2008.
Marriages
Airyn Ruiz, April 11, 2006 – April 13, 2018 (his death). Children: Asia Rayne Bell and Alexander William Bell.
Ramona Lee Hayes, August 4, 1991 – January 5, 2006 (her death) † (see below)
Vickie L. Baker, married March 1, 1981, divorced, July 3, 1991. Children: Arthur William Bell IV
Sachiko Toguchi Bell Pontius, married 1965, divorced 1968. Children: Vincent Pontius, Lisa Pontius Minei.
Retirements and comebacks
Bell retired and returned to Coast to Coast AM several times.
On October 13, 1998, Bell announced his first retirement, which was highly unexpected by his listeners. He spoke of "an event, a threatening terrible event occurred to my family, which I could not tell you about. Because of that event, and a succession of other events, what you're listening to right now is my final broadcast on the air." Hilly Rose filled in after Bell's departure. Bell returned on October 28, 1998, asserting that the brief departure was brought on by threats made against his family. On May 29, 1999, Bell explained that this retirement was due to an allegation made by hosts of WWCR shortwave radio that Bell had paid to cover up a criminal indictment. The facts of the matter became public knowledge in 2000, when the media revealed that an actual criminal indictment was filed against a person who had assaulted a member of Bell's family. Because of the nature of the crime, Bell had wanted to keep the matter private. Ted Gunderson, the former head of the Los Angeles FBI and the hosts at WWCR shortwave radio had accused Bell of the crime. Bell responded by taking legal action against Gunderson, as well as the hosts and stations. The action was resolved in a settlement in 2000.
On April 1, 2000, Bell again announced his retirement. He said that the event would occur on April 26, 2000, but offered no details other than expressing intentions to "resolve a family crisis." On April 11, 2000, Mike Siegel was introduced as the new host of Coast to Coast AM, taking over on April 27, to an estimated audience of 22 million listeners. The media later explained that Bell had left to deal with the aftermath of the kidnap and sexual assault of his son. Brian Lepley, a substitute teacher, was convicted of sexual assault and attempted transmission of HIV and was sentenced to 10 to 25 years. Bell returned to Coast to Coast AM in February 2001. Bell noted that since his departure the show had lost a number of affiliates, commercial content had risen to an unbearable level, and Siegel had taken the program in a "different direction" of which Bell disapproved. Bell retained some authority over the program as its creator and felt his return was necessary.
On October 23, 2002, Bell announced that he would retire due to recurring back pain, which was the result of a fall from a telephone pole during his youth. Bell was replaced by George Noory as weekday host of Coast to Coast AM on January 1, 2003. Those close to the matter also said that Barbara Simpson would host weekends and that Bell planned to be an occasional guest host for Noory. Bell returned in September 2003 as a weekend host, replacing Barbara Simpson and Ian Punnett as host of the Saturday and Sunday evening broadcasts. In June 2005, he scaled this schedule back, calling it a "semiretirement," and hosted only the last two Sundays of every month. Bell went back to hosting every weekend show as his schedule permitted after his wife Ramona's death a few months later.
On July 1, 2007, Bell announced his retirement, stating that he wished to spend more time with his new wife and daughter. He made it explicitly clear that, unlike the circumstances surrounding previous retirements, this decision was an entirely positive and joyful one and that he would not disappear completely, announcing an intention to occasionally substitute for other hosts and host "special" shows.
On December 11, 2015, Bell posted what would be his final retirement message via his Facebook page. He cited safety concerns for his family by saying "if one of them were harmed because of what I love doing my life would be over." Throughout the fall, Bell reported several incidents where an unknown number of armed trespassers came onto his property, sometimes firing gunshots. These events have been said to occur during or around the time of his broadcasting. This announcement came a mere five months after the start of his most recent show, Midnight in the Desert.
Events of 2006
Bell's life took some dramatic twists in the beginning of 2006:
Death of Ramona Bell
On January 5, 2006, Ramona Bell, his wife of 15 years, died unexpectedly at the age of 47 of what appeared to be an acute asthma attack in Laughlin, Nevada, where the couple had been taking a short vacation.
During the January 22 broadcast of Coast to Coast AM, Bell described in great detail the events surrounding his wife's death. For weeks thereafter, callers to the station would speak to George Noory and express their sadness and sympathy for Bell; Noory had taken Bell's place on weekdays beginning in 2002.
Change in schedule
On January 21, 2006, 16 days after the unexpected death of his wife Ramona, Bell announced he would host Coast to Coast AM every Saturday and Sunday evening, and that former weekend host Ian Punnett would work a new live prefeed program for the four hours preceding Bell's slot on Saturday nights (9:00 pm – 1:00 am ET).
New marriage
By the end of January, Bell began hinting that he was making a significant life decision, but that he would keep it a secret for at least one year, asking listeners to remind him in 2007 to let them in on it. By March, he was saying that he would soon take a "huge risk" and "do something rash". On April 15, 2006, he ended the mystery and, to the mild surprise of listeners, revealed that, after several weeks of mourning, he had recently gone to the Philippines and married Airyn Ruiz.
Return to "the High Desert and the Great American Southwest"
Bell opened his December 28, 2006, program by disclosing that he had just relocated back to Pahrump, Nevada, with Ruiz, who had obtained the necessary paperwork for immigrating to the United States.
Events of 2008
On May 29, 2008, Bell sold KNYE to Station Manager Karen Jackson.
On September 8, 2008, Noory stated that he would be hosting the annual Ghost to Ghost AM Halloween call-in show rather than Bell, who normally returns to the Coast to Coast to host it (along with the New Year's prediction shows).
On November 30, 2008, Bell hosted Coast to Coast AM. Michio Kaku was the guest. This was the first time Bell had hosted the show since May 23, 2008.
Bell was inducted into the National Radio Hall of Fame in 2008.
Events of 2009
Bell returned to Coast to Coast AM on February 20, 2009, for a discussion on the global financial crisis with Wall St. insider Michael J. Panzner. Bell and Panzner agreed the United States was headed for an economic depression.
Bell was scheduled to return to Coast to Coast AM on April 24, 2009, to host an evening of open lines, but because of engineering problems in Manila, Bell was rescheduled to a later date.
On May 17, 2009, Bell returned to host Coast to Coast AM live from Manila. His guest was professor Peter Ward. Topics of discussion were mass extinctions, Earth's "self-destructive" phenomena, and life beyond planet Earth. While on the air, Bell answered an email question from a listener who asked why he was in the Philippines again and how long he'd be there. Bell replied that he'd address it on "Friday" and hinted that his move might be permanent.
As of May 20, 2009, the Coast to Coast website listed that Bell would be filling in for George Noory on Friday, May 22, 2009, to interview Bob Koontz. However, Bell did not do that show. The Coast to Coast website, again, cited technical difficulties in Manila and that his interview would be postponed. Bell interviewed Koontz on Saturday, June 6, 2009.
Friday June 26, 2009, Bell hosted Coast to Coast AM from Manila with guest Dean Radin. He also commented on the death of Michael Jackson and how he had lived in Pahrump, Nevada, not too far away from where Bell lived.
Friday November 20, 2009, Bell hosted Coast to Coast AM from Manila with guest Starfire Tor, psi researcher and experiencer who discussed time shifts and time slips, and other strange occurrences of time. During the first 90 minutes, they were joined by Whitley Strieber, who shared his take on Tor's research.
On Wednesday, December 30, and Thursday, December 31, 2009, Bell once again hosted his annual New Year's predictions special of Coast to Coast, noting that a number of the predictions this year were of an unusual and interesting nature and not mere repeats of many that had come before, though he also took several callers to task for seemingly veiling their obvious political agendas or wishes in the form of predictions, rather than offering up something from their "psychic center," which is what he repeatedly asks for during the prediction show. He also suggested that maybe Coast to Coast AM should institute some sort of prize or acknowledgment for listeners whose predictions are particularly accurate or astute.
Immigration controversy
In late 2008, Bell and his wife filed an I-751 petition with the United States Citizenship and Immigration Services as part of her marriage-based green card process. In early 2009 the USCIS responded that they would need additional evidence to prove that Bell's marriage to a Philippine national and subsequent green card application was in good faith. Bell responded with evidence including their marriage license, their daughter's birth certificate, Bell's last will and testament, bank records, family photos, and Social Security forms. Bell sent the package to the USCIS by return receipt mail, and he subsequently received the return receipt stamped "USCIS RECEIVED JAN-15-09."
On March 10, 2009, Bell and his wife and daughter left Nevada for Manila to deal with some family business including the disposition of a condo they owned. Shortly thereafter, the USCIS denied the application on the grounds that the documentary evidence was never received, and further stipulated that Airyn Bell is not permitted to re-enter the United States, which is why Bell remained in the Philippines. Moreover, since the Bells were out of the country when the application was denied, they were required to start the process all over again.
On his June 6 broadcast, Bell explained the situation and asked his listeners to send emails on his behalf to the White House.
Events of 2010–15
Bell hosted 10 episodes in 2010, 5 short of his publicly announced, contractually specified quota of 15 shows per year. His last hosting gig was his annual Ghost to Ghost show on Halloween night (this was the first show ever wherein Bell used call screeners). At the end of that broadcast, Bell said "When they next call my name we'll come back and we'll do this one more time."
As of December 2010, Bell was no longer listed as a host on the Coast to Coast website; his shows were no longer searchable under his name; and the only references to Bell on the site were of an historical/archival nature. However, the weekly Somewhere in Time with Art Bell broadcasts of classic Bell-hosted episodes (which have aired before the live show on Saturday nights since 2006) were not discontinued.
On December 21, 2010, the "HamCam" on Bell's ham radio website featured an image with the following cryptic wording: "The Wind No Longer Blows, in the End it was Without Direction. Long Live the Hot Air. 30" "-30-" is journalistic shorthand for "end of story."
It was announced in late December 2010 that Ian Punnett would host Bell's annual two-part New Year's Eve prediction shows. Initially, Noory had said that Bell was unable to host them because he would be traveling, but on December 24, 2010, Noory said: "We had asked Art to do his predictions show; he's going to spend time with his family. He's winding down, folks, he's winding down...I don't anticipate he'll do any more shows." On the first of the two nights (December 30, 2010), Punnett made a brief, oblique reference to his having the honor of "picking up [Bell's] fallen mantle." On the January 1, 2011, show, Punnett stated he was "looking forward to doing the follow-up a year from now."
In email interactions with fans who have written in to inquire about Bell's absence, Coast personnel confirmed that Bell had retired. According to Coast webmaster Lex Lonehood: "Art Bell decided he no longer wished to do live C2C shows, and asked that his name be removed from the host listings accordingly. Classics and Somewhere in Time shows will continue as is." Coast producer Lisa Lyon told another fan that Bell "has chosen to retire," but that "Art Bell will always be associated with our show, and he is welcome back to the mic whenever he feels the need."
Despite the above remarks from Punnett, Noory, Lyon, Lonehood and Bell, as of January 6, 2011, an official public statement formally confirming Bell's departure from Coast to Coast AM has yet to be made via press release, website announcement or on-air, by any party with the authority to do so—the show's producers, Premier Radio Networks, Clear Channel Communications, or Bell himself. This lack of information has led to rampant speculation among Bell's fanbase as to the motivations and circumstances behind Bell's sudden absence; whether he had given his last live broadcast; and what—if anything—he might decide to do next.
During a chat on February 8, 2011, events became even more confusing for Bell's fans as George Noory, during a public chat responding to a question regarding Bell, stated that Bell isn't responding to his emails. The questioner, "Coalspeaker," asked "Have you spoken to Art Bell lately? And if so is he and his family doing well?" Noory responded by saying, "No I haven't. Art has decided to retire for good this time. I assume all is well for him and his family. He has gone through many ups and downs. I sent him a very lengthy email a few months ago, and he never responded. Though he normally would." There was no further explanation beyond that point on why Bell did not respond to Mr. Noory's email, although it only led Bell's fanbase to speculate further.
In March 2011 a Facebook profile appeared claiming to be the legitimate page of "Arthur W. Bell III," who posted hints that there would be a "big announcement" at the end of April 2011. After much speculation and debate among fans and friends on that page and various Bell forums, and finally after direct intervention from a verified Bell account, the "Arthur W. Bell III" page was proven to be a hoax, with no "big announcement" imminent.
On July 20, 2011, Bell announced via his Facebook page that he had relocated with his family to Pahrump, Nevada. Subsequent posts indicate Bell and his family initially focusing on resettling his house and making it "fit for human habitation" again, giving no indication about his radio plans, if any (beyond maintaining his HAM activity). However, on July 30, Bell posted the following: "There is so much to do and only so many hours in the day. There are things going on in the background that I will talk about at the proper time. The move was a big one and we need time to adjust."
On August 19, 2011, Bell announced via Facebook "Phrase for the day...Stay tuned!", followed on August 31 by the message "Sorry for so few posts but we are working on this house every day like dogs, much more soon." Some Bell fans voiced speculation that the phrase "stay tuned" may have been meant to indicate Bell's return to broadcasting in some form, but 2011 ended with no such announcement forthcoming, though shortly before Christmas he did report that a malfunctioning fire extinguisher in his radio room caused tens of thousands of dollars' worth of damage to his equipment and house.
On August 20, 2012, Bell spoke of his grievances with Premiere Networks, claiming that he would soon tell the full story of the truth of his retirement. "I am just about ready to tell the real story of my so-called 'Retirements'. I have asked Premiere to stop the Saturday broadcasts and thus far they have not done so, as is their legal right. Free speech remains my right. I will soon exercise it."
On November 1, 2012, Bell updated his Facebook status with the following: "I wish my name was no longer associated with what Coast has become!"
Return to radio in 2013
In January 2013, Bell announced on Facebook, "I am now in negotiation for a new Radio show, stay tuned. No promises but the wind may be about to change direction!"
"I guess it is time to end any further speculation that I will return to the air any time soon. I have given (2) very solid offers a lot of thought and have turned them down. My reasons are many, though I am profoundly sad at the current state of the show, both offers would have been direct competition with Coast and anger is the wrong reason to proceed. Also I really do not want to destroy what I built despite its current state. Asia will be in first grade in the Fall and getting up very early, I would be up late and sleeping late, I would not see much of her or Airyn. Life is short and I want to spend what I have left with my Family. I hope my friends understand..."
In June 2013, Bell announced on his Facebook page that his official website, artbell.com, would be relaunching. On July 10, 2013, a red, white, and blue textual representation of a smiley face was displayed on the website. The site's favicon is a picture of a grey alien. On July 11, 2013, the smiley face was replaced with a red, white, and blue Morse code script that translated to "Wanna take a ride?".
On July 29, 2013, Bell officially announced a return to the airwaves with a launch date of September 16, 2013. His new show Art Bell's Dark Matter was broadcast on SiriusXM satellite radio's Indie Talk channel (channel #104), Monday through Thursday from 7 PM to 11 PM PT with repeats during the remainder of the night and "best of" shows airing on Fridays. His official website was updated on that date to include the announcement.
On November 4, 2013, Bell left Dark Matter after only six weeks.
On November 7, 2013, Bell announced and began testing for potential Internet streaming sources.
Midnight in the Desert radio show
On July 20, 2015, Bell returned with his new show Midnight in the Desert. The show aired on the internet Dark Matter Digital network and on 45 stations (20 of which signed on before the show started) from 9 PM to midnight PT. He also started transmitting on shortwave radio on WTWW at 5.085 MHz as well.
On December 11, 2015, Bell announced that he had permanently stepped down as host of Midnight in the Desert due to concerns about his family's safety. Bell had reported multiple instances of someone shooting firearms at and near his property in the fall of 2015. The show Midnight in the Desert continued with new host Heather Wade, and shortly after Art's death Dave Schrader became the host. Bell made the occasional guest host appearance.
Death
Art Bell died April 13, 2018, at age 72 at his home in Pahrump, Nevada. An autopsy was scheduled for the following days to determine the cause of his death. He had suffered from health problems in the previous years. He posted on his website in July 2016 that he was hospitalized for pneumonia and revealed at the time that he suffered from chronic obstructive pulmonary disease.
On August 1, 2018, the Las Vegas Review-Journal reported the Clark County coroner's office findings. The coroner's office stated that Bell died of an accidental overdose from a cocktail of prescription drugs. The coroner's office determined he had four prescription medications in his system: the opioids oxycodone or Roxicet and hydrocodone or Vicodin, diazepam or Valium, and carisoprodol or Soma, a muscle-relaxant. Chronic obstructive pulmonary disease and hypertension also contributed to his death.
George Noory, current host of Coast To Coast AM, announced Bell's death and while struggling to keep his composure stated, "Art and I were not that close. We had our differences, but he was one of those instrumental in me being where I am right now."
Books
Bell wrote, or co-wrote, several books, including The Quickening: Today's Trends, Tomorrow's World; The Art of Talk (an autobiography); The Source: Journey Through the Unexplained; The Edge: Man's Mysterious Past & Incredible Future; and The Coming Global Superstorm (co-authored with Whitley Streiber), which became the basis for the popular movie, The Day After Tomorrow.
Other work
In 1996, Bell appeared in an episode of the NBC science fiction series Dark Skies as William S. Paley, head of CBS.
On September 30, 1998, NBC's Today Show aired a taped segment of reporter Fred Francis interviewing Bell. Francis questioned Bell about Hale-Bopp, Area 51, eccentric callers claiming to be "six-fingered alien hybrids", as well as the UFO sighting experienced by Bell and his wife Ramona.
In 1999, Bell appeared as himself on the series Millennium. The episode called "Collateral Damage" aired in the third season and dealt with a former U.S. soldier who claimed the government he fought for was indeed responsible for horrendous tests on soldiers and Iraqi civilians. (This episode was broadcast on January 22, 1999. The Washington Post, January 22, 1999.) In 1999 Bell was interviewed on Larry King Live. (This was broadcast on March 5, 1999. The Washington Post, March 5, 1999.)
Progressive rock band Tool's 2001 album, Lateralus, featured a track entitled "Faaip de Oiad" (Enochian for "The Voice of God"), which includes a clip of the "distraught and terrified" Area 51 employee call from September 11, 1997.
In 2005, Bell and then-wife Ramona were featured on the ABC News special: Peter Jennings Reporting: UFOs – Seeing Is Believing, which reported on the entire scope of the UFO experience, from the first sighting by Kenneth Arnold in 1947 to the present day. (This was broadcast on February 24, 2005. The Washington Post, 2-20-05.)
In 2005, snippets of Bell and callers to his show were featured on the song "Conspiracy Radio" on Sean Hogan's album Catalina Sunrise: Bell is credited for "voice-overs" on this track.
In 2006, Bell was featured in the video game Prey and played himself. He hosts, as in real life, Coast to Coast AM, and the player is able to listen to the broadcast at several terminals throughout the game. The broadcasts describe what is happening on Earth as the game unfolds. The game plot centers around a massive spaceship and alien abductions. Bell receives a number of calls about people who have seen smaller craft as they abduct people.
In 2007, Bell appeared as himself in the movie I Know Who Killed Me.
Bell appeared alongside Mark Arnold in the 2016 film titled Abduct, directed by Ilyas Kaduji and produced by Mafalda Sa. Bell plays himself as he and a group of friends try to help protect a young woman from an alien threat.
Notes
References
Further reading
Ronson, Jon. The Men Who Stare at Goats, Picador, 2004 ; Simon & Schuster, 2006 . Chapter 6, "Privatization," pp. 93–114.
External links
1945 births
2018 deaths
Accidental deaths in Nevada
Amateur radio people
American radio DJs
American radio executives
American talk radio hosts
Businesspeople from Nevada
Coast to Coast AM
Deaths from hypertension
Deaths from lung disease
Drug-related deaths in Nevada
Military personnel from North Carolina
Non-fiction environmental writers
People from Camp Lejeune, North Carolina
People from Jacksonville, North Carolina
People from Pahrump, Nevada
People from Watsonville, California
Radio personalities from Nevada
Ufologists
United States Air Force airmen
University of Maryland, College Park alumni
Writers from Nevada
Writers from North Carolina
20th-century American businesspeople | false | [
"Elizabeth Bell may refer to:\n\n Elizabeth Bell (doctor) (1862–1934), Ireland's first woman doctor\n Elizabeth Viola Bell (1897–1990), New Zealand community leader\n Elizabeth Bell (actress) (1941–2012), British actress who played stage and screen\n Elizabeth Bell (composer) (1928–2016), founder of the New York Women Composers, Inc.\n Elizabeth \"Lizzie\" Bell, founder of American charity organisation Lizzie's Loot",
"Gordon Bell (born 1934) is an American electrical engineer and manager.\n\nGordon Bell may also refer to:\n\nGordon Bell (surgeon) (1887–1970), New Zealand surgeon and university professor\nGordon Bell (actor) (1910–1998), British stage, screen and TV actor in The Man Who Never Was\nGordon Bell (physician) (1911–2005), Canadian physician\nGordie Bell (1925–1985), Canadian ice hockey goaltender\nGordon Bell (cartoonist) (1934–2014), British cartoon artist\nGordon Bell (American football) (born 1953), American football running back\nGordon Bell (singer-songwriter) (born 1969), Scottish musician based in Switzerland\nGordon Bell (QNX), Canadian software designer\n\nSee also\nGordon Bell High School, Winnipeg, Canada\nGordon Bell Prize\nCharles Gordon Bell (1889–1918), British pilot"
]
|
[
"Art Bell",
"Broadcasting career",
"Why did bell screen calls?",
"I don't know."
]
| C_154754ebaa4247baae64e5d0cc428c6a_1 | who were bells regular guests? | 2 | Who were regular guests on Art Bell's show? | Art Bell | During the early 1970s, Bell lived in Watsonville, California and worked for KIDD 630 AM in Monterey, California. He also worked for KMST channel 46. First a rock music disc jockey before moving into talk radio, Bell's original 1978 late-night Las Vegas program on KDWN was a political call-in show under the name West Coast AM. In 1988, Bell and Alan Corberth renamed the show Coast to Coast AM and moved its broadcast from the Plaza Hotel in Las Vegas to Bell's home in Pahrump. Bell abandoned conventional political talk in favor of topics such as gun control and conspiracy theories, leading to a significant bump in his overnight ratings. The show's focus again shifted significantly after the Oklahoma City bombing in 1995. Many in the media did not want to be blamed for inciting anti-government or militia actions like the bombing. Subsequently, Bell discussed off-beat topics like the paranormal, the occult, UFOs, protoscience and pseudoscience. During his tenure at KDWN Bell met and married his third wife, Ramona, who later handled production and management duties for the program. According to The Washington Post in its February 23, 1997 edition, Bell was at the time America's highest-rated late-night radio talk show host, broadcast on 328 stations. According to The Oregonian in its June 22, 1997 edition, Coast to Coast AM with Art Bell was on 460 stations. At its initial peak in popularity, Coast to Coast AM was syndicated on more than 500 radio stations and claimed 15 million listeners nightly. Bell's studios were located in his home in the town of Pahrump, located in Nye County, Nevada; hence the voice-over catchphrase, "from the Kingdom of Nye". CANNOTANSWER | CANNOTANSWER | Arthur William Bell III (June 17, 1945 – April 13, 2018) was an American broadcaster and author. He was the founder and the original host of the paranormal-themed radio program Coast to Coast AM, which is syndicated on hundreds of radio stations in the United States and Canada. He also created and hosted its companion show Dreamland. Coast to Coast still airs nightly.
In 2003, Bell semi-retired from Coast to Coast AM. During the following four years, he hosted the show for many weekends on Premiere Networks. He announced his retirement from weekend hosting in 2007, but occasionally served as a guest host through to 2010. Classic episodes of Coast to Coast AM can be heard in some radio markets on Saturday nights under the name Somewhere in Time hosted by Bell. He started a new nightly show, Art Bell's Dark Matter, on Sirius XM Radio, that aired for six weeks in 2013.
In 2015, he returned to radio with a new show Midnight in the Desert, which was available online via TuneIn as well as some terrestrial radio stations. He announced what would be his final retirement on December 11, 2015, citing security concerns at his home. He said that he and his family were subjected to repeated intrusions on his property in Pahrump, Nevada. The intrusions included gunshots, and he was in fear for his family's safety. He chose to leave the air and along with it public life because he believed that the intruder or intruders wanted him off the air.
Bell was the founder and original owner of Pahrump-based radio station KNYE 95.1 FM. His broadcast studio and transmitter were located near his home in Pahrump, where he also hosted Coast to Coast AM.
Early life
Arthur William Bell III was born in North Carolina on June 17, 1945. Sources differ on whether he was born in Jacksonville or Camp Lejeune. He had a Lutheran background.
Bell was always interested in radio; at the age of 13, he became a licensed amateur radio operator. Bell held an Amateur Extra Class license, which is in the top U.S. Federal Communications Commission license class. His call sign was W6OBB.
Bell served in the U.S. Air Force as a medic during the Vietnam War and in his free time operated a pirate radio station at Amarillo Air Force Base. He would make a point of playing anti-war music (like "Eve of Destruction" and "Fortunate Son") that was not aired on the American Forces Network.
After leaving military service, he remained in Asia, where he lived on the Japanese island of Okinawa. He worked as a disc jockey for KSBK, which was the only non-military English-language station in Japan. While there, he set a Guinness World Record by staying on the air for 116 hours and 15 minutes. The money raised there allowed Bell to charter a Douglas DC-8, fly to Vietnam, and rescue 130 Vietnamese orphans stranded in Saigon at the war's end. They were eventually brought to the United States and adopted by American families.
Bell returned to the United States and studied engineering at the University of Maryland. He dropped out and returned to radio as a board operator and chief engineer, and had the opportunity to be on the air a few times. For several years, he worked behind and in front of the microphone. After a period of working in cable television, in 1986 the 50,000-watt KDWN in Las Vegas, Nevada, offered Bell a five-hour time slot in the middle of the night. Syndication of his program to other radio stations began in 1993.
Broadcasting career
Bell was a rock music disc jockey before he moved into talk radio. His original 1978 late-night Las Vegas program on KDWN was a political call-in show under the name West Coast AM. In 1988, Bell and Alan Corberth renamed the show Coast to Coast AM and moved its broadcast from the Plaza Hotel in Las Vegas to Bell's home in Pahrump.
Bell abandoned conventional political talk in favor of topics such as gun control and conspiracy theories, leading to a significant bump in his overnight ratings. The show's focus again shifted significantly after the Oklahoma City bombing in 1995. Many in the media did not want to be blamed for inciting anti-government or militia actions like the bombing. Subsequently, Bell discussed off-beat topics such as the paranormal, the occult, UFOs, protoscience and pseudoscience. During his tenure at KDWN Bell met and married his third wife, Ramona, who later handled production and management duties for the program.
An article in the February 23, 1997, edition of The Washington Post said that Bell was currently America's highest-rated late-night radio talk show host, broadcast on 328 stations. According to The Oregonian in its June 22, 1997, edition, Coast to Coast AM with Art Bell was on 460 stations. At its initial peak in popularity, Coast to Coast AM was syndicated on more than 500 radio stations and claimed 15 million listeners nightly. Bell's studios were located in his home in the town of Pahrump, located in Nye County, Nevada; hence, the voice-over catchphrase, "from the Kingdom of Nye".
Critical reputation
Fans regarded Bell as a master showman, noting that he called his show "absolute entertainment" and expressly said he did not necessarily accept every guest or caller's claims, but only offered a forum where they would not be openly ridiculed. Bell was one of only a few talk show hosts who did not screen incoming calls, but this changed in 2006. On the October 31, 2006, edition of Coast to Coast AM, (renamed for the night to Ghost to Ghost AM), Bell was asked why he was now using call-screeners. The explanation given was that for him to use un-screened open phone lines while in the Philippines would require listeners to call there directly at enormous cost to them. Art admitted that he should have chosen New Zealand instead of the Philippines as an alternative to the USA. He said, "It was a bad choice, and I'll regret it, one day, in the near future."
Bell has earned praise from those who declare that the paranormal deserves a mature outlet of discussion in the media as well as the approval of those simply amused by the nightly parade of bizarre, typically fringe topics. Ed Dames, Richard C. Hoagland, Terence McKenna, Dannion Brinkley, David John Oates, and Robert Bigelow were all regular guests. Some of Bell's regular guests continue to appear on Coast to Coast AM now hosted by George Noory.
Bell's own interests, however, extended beyond the paranormal. He interviewed singers Crystal Gayle, Willie Nelson, Merle Haggard, Eric Burdon and Gordon Lightfoot, comedian George Carlin, writer Dean Koontz, hard science fiction writer Greg Bear, X-Files writer/creator Chris Carter, TV talk host Regis Philbin, Star Trek actor Leonard Nimoy, actor Dan Aykroyd, former Luftwaffe pilot Bruno Stolle, actress Jane Seymour, actress Ellen Muth, actor and TV host Robert Stack, human rights lawyer John Loftus, legendary disc jockey Casey Kasem, UFC commentator Joe Rogan and frequent guests physicist Michio Kaku and SETI astronomers Seth Shostak and H. Paul Shuch.
Beginning in late 1996, Bell was criticized for reporting rumors that Comet Hale–Bopp was being trailed by a UFO. Some speculated that members of the Heaven's Gate group committed mass suicide based on rumors Bell aired, but others dismissed the idea, noting that the Heaven's Gate website stated: "Whether Hale-Bopp has a 'companion' or not is irrelevant from our perspective." Susan Wright reported, however, that Bell was also "one of the first to publicize expert opinions refuting the 'alien' companion" said to have been shadowing Hale-Bopp, such as that published in 1998 from the Jet Propulsion Laboratory suggesting that "the satellite's main diameter is ~30 km," (20 miles) and accordingly natural rather than artificial.
Callers and guests
On August 15, 1996, Bell interviewed William Luther Pierce, author of The Turner Diaries, in which Pierce—writing under the pseudonym "Andrew Macdonald"—depicted a race war leading to the extermination of Jews, non-whites and gay people. Pierce denounced interracial marriage, calling white people who married non-whites "traitors to the white race"—apparently unaware that Bell himself was in an interracial marriage, as his then-wife, Ramona Bell, was an Asian-American of Filipino descent (his wife Airyn whom he married after Ramona's death was also Filipino).
One of Bell's Coast to Coast interviews occurred in 1997 with Mel Waters who discussed what is known as "Mel's Hole" in rural Washington State. The opening is said to be a fantastically deep vertical shaft which possesses bizarre properties. No such hole has ever been physically located by anyone attempting to verify this story.
A caller in 2000 named "Daniel Murray" claimed he was a Majestic Agent from Downey, California.
This call served as the inspiration for the alternate reality game Majestic.
A caller in September 1997 claimed he had discovered an unknown threat and conspiracy from Area 51, and his life was in danger by even talking about it. For unknown reasons, Bell lost connection to his transmitter during the call and, just as the caller's voice became more and more agitated, the entire broadcast dramatically went silent. A confused Bell restored the signal about 20 minutes later. The caller (or someone sounding similar) called in on a subsequent show and admitted it had been an elaborate hoax, which fooled many. Audio from the call was used in the Tool song "Faaip De Oiad," on the album Lateralus.
Amateur radio
Bell became a licensed amateur radio operator at the age of 13. His first call sign was KN3JOX, first listed in the Winter 1959 edition of the Radio Amateur Callbook. He soon upgraded to K3JOX, and he later held W2CKS, first listed in the Spring 1967 Callbook. Bell held an Amateur Extra Class license, which is the highest U.S. Federal Communications Commission amateur license class. His call sign was W6OBB.
Bell passed the Philippines amateur radio exams and became a Philippine Class A amateur radio operator with the call sign of 4F1AB. While in the Philippines, Bell was active on 40-10 Meters, as well as 144.600 MHz simplex in Manila.
Honors
In 1998, Bell was named as recipient of the Snuffed Candle Award by the Committee for Skeptical Inquiry's Council for Media Integrity. Bell was recognized by the Council for "perpetuating conspiracy myths... and mystery mongering". When Bell learned of the award he replied "A mind should not be so open that the brains fall out, however it should not be so closed that whatever gray matter which does reside may not be reached. On behalf of those with the smallest remaining open aperture, I accept with honor."
In August 2006 Art was inducted into the Nevada Broadcasters Association Hall of Fame. He did not attend the presentation.
On March 10, 2007, Bell would be honored with the News/Talk Radio Lifetime Achievement Award from the trade publication Radio & Records in Los Angeles.
Bell was inducted into the National Radio Hall of Fame in 2008.
Marriages
Airyn Ruiz, April 11, 2006 – April 13, 2018 (his death). Children: Asia Rayne Bell and Alexander William Bell.
Ramona Lee Hayes, August 4, 1991 – January 5, 2006 (her death) † (see below)
Vickie L. Baker, married March 1, 1981, divorced, July 3, 1991. Children: Arthur William Bell IV
Sachiko Toguchi Bell Pontius, married 1965, divorced 1968. Children: Vincent Pontius, Lisa Pontius Minei.
Retirements and comebacks
Bell retired and returned to Coast to Coast AM several times.
On October 13, 1998, Bell announced his first retirement, which was highly unexpected by his listeners. He spoke of "an event, a threatening terrible event occurred to my family, which I could not tell you about. Because of that event, and a succession of other events, what you're listening to right now is my final broadcast on the air." Hilly Rose filled in after Bell's departure. Bell returned on October 28, 1998, asserting that the brief departure was brought on by threats made against his family. On May 29, 1999, Bell explained that this retirement was due to an allegation made by hosts of WWCR shortwave radio that Bell had paid to cover up a criminal indictment. The facts of the matter became public knowledge in 2000, when the media revealed that an actual criminal indictment was filed against a person who had assaulted a member of Bell's family. Because of the nature of the crime, Bell had wanted to keep the matter private. Ted Gunderson, the former head of the Los Angeles FBI and the hosts at WWCR shortwave radio had accused Bell of the crime. Bell responded by taking legal action against Gunderson, as well as the hosts and stations. The action was resolved in a settlement in 2000.
On April 1, 2000, Bell again announced his retirement. He said that the event would occur on April 26, 2000, but offered no details other than expressing intentions to "resolve a family crisis." On April 11, 2000, Mike Siegel was introduced as the new host of Coast to Coast AM, taking over on April 27, to an estimated audience of 22 million listeners. The media later explained that Bell had left to deal with the aftermath of the kidnap and sexual assault of his son. Brian Lepley, a substitute teacher, was convicted of sexual assault and attempted transmission of HIV and was sentenced to 10 to 25 years. Bell returned to Coast to Coast AM in February 2001. Bell noted that since his departure the show had lost a number of affiliates, commercial content had risen to an unbearable level, and Siegel had taken the program in a "different direction" of which Bell disapproved. Bell retained some authority over the program as its creator and felt his return was necessary.
On October 23, 2002, Bell announced that he would retire due to recurring back pain, which was the result of a fall from a telephone pole during his youth. Bell was replaced by George Noory as weekday host of Coast to Coast AM on January 1, 2003. Those close to the matter also said that Barbara Simpson would host weekends and that Bell planned to be an occasional guest host for Noory. Bell returned in September 2003 as a weekend host, replacing Barbara Simpson and Ian Punnett as host of the Saturday and Sunday evening broadcasts. In June 2005, he scaled this schedule back, calling it a "semiretirement," and hosted only the last two Sundays of every month. Bell went back to hosting every weekend show as his schedule permitted after his wife Ramona's death a few months later.
On July 1, 2007, Bell announced his retirement, stating that he wished to spend more time with his new wife and daughter. He made it explicitly clear that, unlike the circumstances surrounding previous retirements, this decision was an entirely positive and joyful one and that he would not disappear completely, announcing an intention to occasionally substitute for other hosts and host "special" shows.
On December 11, 2015, Bell posted what would be his final retirement message via his Facebook page. He cited safety concerns for his family by saying "if one of them were harmed because of what I love doing my life would be over." Throughout the fall, Bell reported several incidents where an unknown number of armed trespassers came onto his property, sometimes firing gunshots. These events have been said to occur during or around the time of his broadcasting. This announcement came a mere five months after the start of his most recent show, Midnight in the Desert.
Events of 2006
Bell's life took some dramatic twists in the beginning of 2006:
Death of Ramona Bell
On January 5, 2006, Ramona Bell, his wife of 15 years, died unexpectedly at the age of 47 of what appeared to be an acute asthma attack in Laughlin, Nevada, where the couple had been taking a short vacation.
During the January 22 broadcast of Coast to Coast AM, Bell described in great detail the events surrounding his wife's death. For weeks thereafter, callers to the station would speak to George Noory and express their sadness and sympathy for Bell; Noory had taken Bell's place on weekdays beginning in 2002.
Change in schedule
On January 21, 2006, 16 days after the unexpected death of his wife Ramona, Bell announced he would host Coast to Coast AM every Saturday and Sunday evening, and that former weekend host Ian Punnett would work a new live prefeed program for the four hours preceding Bell's slot on Saturday nights (9:00 pm – 1:00 am ET).
New marriage
By the end of January, Bell began hinting that he was making a significant life decision, but that he would keep it a secret for at least one year, asking listeners to remind him in 2007 to let them in on it. By March, he was saying that he would soon take a "huge risk" and "do something rash". On April 15, 2006, he ended the mystery and, to the mild surprise of listeners, revealed that, after several weeks of mourning, he had recently gone to the Philippines and married Airyn Ruiz.
Return to "the High Desert and the Great American Southwest"
Bell opened his December 28, 2006, program by disclosing that he had just relocated back to Pahrump, Nevada, with Ruiz, who had obtained the necessary paperwork for immigrating to the United States.
Events of 2008
On May 29, 2008, Bell sold KNYE to Station Manager Karen Jackson.
On September 8, 2008, Noory stated that he would be hosting the annual Ghost to Ghost AM Halloween call-in show rather than Bell, who normally returns to the Coast to Coast to host it (along with the New Year's prediction shows).
On November 30, 2008, Bell hosted Coast to Coast AM. Michio Kaku was the guest. This was the first time Bell had hosted the show since May 23, 2008.
Bell was inducted into the National Radio Hall of Fame in 2008.
Events of 2009
Bell returned to Coast to Coast AM on February 20, 2009, for a discussion on the global financial crisis with Wall St. insider Michael J. Panzner. Bell and Panzner agreed the United States was headed for an economic depression.
Bell was scheduled to return to Coast to Coast AM on April 24, 2009, to host an evening of open lines, but because of engineering problems in Manila, Bell was rescheduled to a later date.
On May 17, 2009, Bell returned to host Coast to Coast AM live from Manila. His guest was professor Peter Ward. Topics of discussion were mass extinctions, Earth's "self-destructive" phenomena, and life beyond planet Earth. While on the air, Bell answered an email question from a listener who asked why he was in the Philippines again and how long he'd be there. Bell replied that he'd address it on "Friday" and hinted that his move might be permanent.
As of May 20, 2009, the Coast to Coast website listed that Bell would be filling in for George Noory on Friday, May 22, 2009, to interview Bob Koontz. However, Bell did not do that show. The Coast to Coast website, again, cited technical difficulties in Manila and that his interview would be postponed. Bell interviewed Koontz on Saturday, June 6, 2009.
Friday June 26, 2009, Bell hosted Coast to Coast AM from Manila with guest Dean Radin. He also commented on the death of Michael Jackson and how he had lived in Pahrump, Nevada, not too far away from where Bell lived.
Friday November 20, 2009, Bell hosted Coast to Coast AM from Manila with guest Starfire Tor, psi researcher and experiencer who discussed time shifts and time slips, and other strange occurrences of time. During the first 90 minutes, they were joined by Whitley Strieber, who shared his take on Tor's research.
On Wednesday, December 30, and Thursday, December 31, 2009, Bell once again hosted his annual New Year's predictions special of Coast to Coast, noting that a number of the predictions this year were of an unusual and interesting nature and not mere repeats of many that had come before, though he also took several callers to task for seemingly veiling their obvious political agendas or wishes in the form of predictions, rather than offering up something from their "psychic center," which is what he repeatedly asks for during the prediction show. He also suggested that maybe Coast to Coast AM should institute some sort of prize or acknowledgment for listeners whose predictions are particularly accurate or astute.
Immigration controversy
In late 2008, Bell and his wife filed an I-751 petition with the United States Citizenship and Immigration Services as part of her marriage-based green card process. In early 2009 the USCIS responded that they would need additional evidence to prove that Bell's marriage to a Philippine national and subsequent green card application was in good faith. Bell responded with evidence including their marriage license, their daughter's birth certificate, Bell's last will and testament, bank records, family photos, and Social Security forms. Bell sent the package to the USCIS by return receipt mail, and he subsequently received the return receipt stamped "USCIS RECEIVED JAN-15-09."
On March 10, 2009, Bell and his wife and daughter left Nevada for Manila to deal with some family business including the disposition of a condo they owned. Shortly thereafter, the USCIS denied the application on the grounds that the documentary evidence was never received, and further stipulated that Airyn Bell is not permitted to re-enter the United States, which is why Bell remained in the Philippines. Moreover, since the Bells were out of the country when the application was denied, they were required to start the process all over again.
On his June 6 broadcast, Bell explained the situation and asked his listeners to send emails on his behalf to the White House.
Events of 2010–15
Bell hosted 10 episodes in 2010, 5 short of his publicly announced, contractually specified quota of 15 shows per year. His last hosting gig was his annual Ghost to Ghost show on Halloween night (this was the first show ever wherein Bell used call screeners). At the end of that broadcast, Bell said "When they next call my name we'll come back and we'll do this one more time."
As of December 2010, Bell was no longer listed as a host on the Coast to Coast website; his shows were no longer searchable under his name; and the only references to Bell on the site were of an historical/archival nature. However, the weekly Somewhere in Time with Art Bell broadcasts of classic Bell-hosted episodes (which have aired before the live show on Saturday nights since 2006) were not discontinued.
On December 21, 2010, the "HamCam" on Bell's ham radio website featured an image with the following cryptic wording: "The Wind No Longer Blows, in the End it was Without Direction. Long Live the Hot Air. 30" "-30-" is journalistic shorthand for "end of story."
It was announced in late December 2010 that Ian Punnett would host Bell's annual two-part New Year's Eve prediction shows. Initially, Noory had said that Bell was unable to host them because he would be traveling, but on December 24, 2010, Noory said: "We had asked Art to do his predictions show; he's going to spend time with his family. He's winding down, folks, he's winding down...I don't anticipate he'll do any more shows." On the first of the two nights (December 30, 2010), Punnett made a brief, oblique reference to his having the honor of "picking up [Bell's] fallen mantle." On the January 1, 2011, show, Punnett stated he was "looking forward to doing the follow-up a year from now."
In email interactions with fans who have written in to inquire about Bell's absence, Coast personnel confirmed that Bell had retired. According to Coast webmaster Lex Lonehood: "Art Bell decided he no longer wished to do live C2C shows, and asked that his name be removed from the host listings accordingly. Classics and Somewhere in Time shows will continue as is." Coast producer Lisa Lyon told another fan that Bell "has chosen to retire," but that "Art Bell will always be associated with our show, and he is welcome back to the mic whenever he feels the need."
Despite the above remarks from Punnett, Noory, Lyon, Lonehood and Bell, as of January 6, 2011, an official public statement formally confirming Bell's departure from Coast to Coast AM has yet to be made via press release, website announcement or on-air, by any party with the authority to do so—the show's producers, Premier Radio Networks, Clear Channel Communications, or Bell himself. This lack of information has led to rampant speculation among Bell's fanbase as to the motivations and circumstances behind Bell's sudden absence; whether he had given his last live broadcast; and what—if anything—he might decide to do next.
During a chat on February 8, 2011, events became even more confusing for Bell's fans as George Noory, during a public chat responding to a question regarding Bell, stated that Bell isn't responding to his emails. The questioner, "Coalspeaker," asked "Have you spoken to Art Bell lately? And if so is he and his family doing well?" Noory responded by saying, "No I haven't. Art has decided to retire for good this time. I assume all is well for him and his family. He has gone through many ups and downs. I sent him a very lengthy email a few months ago, and he never responded. Though he normally would." There was no further explanation beyond that point on why Bell did not respond to Mr. Noory's email, although it only led Bell's fanbase to speculate further.
In March 2011 a Facebook profile appeared claiming to be the legitimate page of "Arthur W. Bell III," who posted hints that there would be a "big announcement" at the end of April 2011. After much speculation and debate among fans and friends on that page and various Bell forums, and finally after direct intervention from a verified Bell account, the "Arthur W. Bell III" page was proven to be a hoax, with no "big announcement" imminent.
On July 20, 2011, Bell announced via his Facebook page that he had relocated with his family to Pahrump, Nevada. Subsequent posts indicate Bell and his family initially focusing on resettling his house and making it "fit for human habitation" again, giving no indication about his radio plans, if any (beyond maintaining his HAM activity). However, on July 30, Bell posted the following: "There is so much to do and only so many hours in the day. There are things going on in the background that I will talk about at the proper time. The move was a big one and we need time to adjust."
On August 19, 2011, Bell announced via Facebook "Phrase for the day...Stay tuned!", followed on August 31 by the message "Sorry for so few posts but we are working on this house every day like dogs, much more soon." Some Bell fans voiced speculation that the phrase "stay tuned" may have been meant to indicate Bell's return to broadcasting in some form, but 2011 ended with no such announcement forthcoming, though shortly before Christmas he did report that a malfunctioning fire extinguisher in his radio room caused tens of thousands of dollars' worth of damage to his equipment and house.
On August 20, 2012, Bell spoke of his grievances with Premiere Networks, claiming that he would soon tell the full story of the truth of his retirement. "I am just about ready to tell the real story of my so-called 'Retirements'. I have asked Premiere to stop the Saturday broadcasts and thus far they have not done so, as is their legal right. Free speech remains my right. I will soon exercise it."
On November 1, 2012, Bell updated his Facebook status with the following: "I wish my name was no longer associated with what Coast has become!"
Return to radio in 2013
In January 2013, Bell announced on Facebook, "I am now in negotiation for a new Radio show, stay tuned. No promises but the wind may be about to change direction!"
"I guess it is time to end any further speculation that I will return to the air any time soon. I have given (2) very solid offers a lot of thought and have turned them down. My reasons are many, though I am profoundly sad at the current state of the show, both offers would have been direct competition with Coast and anger is the wrong reason to proceed. Also I really do not want to destroy what I built despite its current state. Asia will be in first grade in the Fall and getting up very early, I would be up late and sleeping late, I would not see much of her or Airyn. Life is short and I want to spend what I have left with my Family. I hope my friends understand..."
In June 2013, Bell announced on his Facebook page that his official website, artbell.com, would be relaunching. On July 10, 2013, a red, white, and blue textual representation of a smiley face was displayed on the website. The site's favicon is a picture of a grey alien. On July 11, 2013, the smiley face was replaced with a red, white, and blue Morse code script that translated to "Wanna take a ride?".
On July 29, 2013, Bell officially announced a return to the airwaves with a launch date of September 16, 2013. His new show Art Bell's Dark Matter was broadcast on SiriusXM satellite radio's Indie Talk channel (channel #104), Monday through Thursday from 7 PM to 11 PM PT with repeats during the remainder of the night and "best of" shows airing on Fridays. His official website was updated on that date to include the announcement.
On November 4, 2013, Bell left Dark Matter after only six weeks.
On November 7, 2013, Bell announced and began testing for potential Internet streaming sources.
Midnight in the Desert radio show
On July 20, 2015, Bell returned with his new show Midnight in the Desert. The show aired on the internet Dark Matter Digital network and on 45 stations (20 of which signed on before the show started) from 9 PM to midnight PT. He also started transmitting on shortwave radio on WTWW at 5.085 MHz as well.
On December 11, 2015, Bell announced that he had permanently stepped down as host of Midnight in the Desert due to concerns about his family's safety. Bell had reported multiple instances of someone shooting firearms at and near his property in the fall of 2015. The show Midnight in the Desert continued with new host Heather Wade, and shortly after Art's death Dave Schrader became the host. Bell made the occasional guest host appearance.
Death
Art Bell died April 13, 2018, at age 72 at his home in Pahrump, Nevada. An autopsy was scheduled for the following days to determine the cause of his death. He had suffered from health problems in the previous years. He posted on his website in July 2016 that he was hospitalized for pneumonia and revealed at the time that he suffered from chronic obstructive pulmonary disease.
On August 1, 2018, the Las Vegas Review-Journal reported the Clark County coroner's office findings. The coroner's office stated that Bell died of an accidental overdose from a cocktail of prescription drugs. The coroner's office determined he had four prescription medications in his system: the opioids oxycodone or Roxicet and hydrocodone or Vicodin, diazepam or Valium, and carisoprodol or Soma, a muscle-relaxant. Chronic obstructive pulmonary disease and hypertension also contributed to his death.
George Noory, current host of Coast To Coast AM, announced Bell's death and while struggling to keep his composure stated, "Art and I were not that close. We had our differences, but he was one of those instrumental in me being where I am right now."
Books
Bell wrote, or co-wrote, several books, including The Quickening: Today's Trends, Tomorrow's World; The Art of Talk (an autobiography); The Source: Journey Through the Unexplained; The Edge: Man's Mysterious Past & Incredible Future; and The Coming Global Superstorm (co-authored with Whitley Streiber), which became the basis for the popular movie, The Day After Tomorrow.
Other work
In 1996, Bell appeared in an episode of the NBC science fiction series Dark Skies as William S. Paley, head of CBS.
On September 30, 1998, NBC's Today Show aired a taped segment of reporter Fred Francis interviewing Bell. Francis questioned Bell about Hale-Bopp, Area 51, eccentric callers claiming to be "six-fingered alien hybrids", as well as the UFO sighting experienced by Bell and his wife Ramona.
In 1999, Bell appeared as himself on the series Millennium. The episode called "Collateral Damage" aired in the third season and dealt with a former U.S. soldier who claimed the government he fought for was indeed responsible for horrendous tests on soldiers and Iraqi civilians. (This episode was broadcast on January 22, 1999. The Washington Post, January 22, 1999.) In 1999 Bell was interviewed on Larry King Live. (This was broadcast on March 5, 1999. The Washington Post, March 5, 1999.)
Progressive rock band Tool's 2001 album, Lateralus, featured a track entitled "Faaip de Oiad" (Enochian for "The Voice of God"), which includes a clip of the "distraught and terrified" Area 51 employee call from September 11, 1997.
In 2005, Bell and then-wife Ramona were featured on the ABC News special: Peter Jennings Reporting: UFOs – Seeing Is Believing, which reported on the entire scope of the UFO experience, from the first sighting by Kenneth Arnold in 1947 to the present day. (This was broadcast on February 24, 2005. The Washington Post, 2-20-05.)
In 2005, snippets of Bell and callers to his show were featured on the song "Conspiracy Radio" on Sean Hogan's album Catalina Sunrise: Bell is credited for "voice-overs" on this track.
In 2006, Bell was featured in the video game Prey and played himself. He hosts, as in real life, Coast to Coast AM, and the player is able to listen to the broadcast at several terminals throughout the game. The broadcasts describe what is happening on Earth as the game unfolds. The game plot centers around a massive spaceship and alien abductions. Bell receives a number of calls about people who have seen smaller craft as they abduct people.
In 2007, Bell appeared as himself in the movie I Know Who Killed Me.
Bell appeared alongside Mark Arnold in the 2016 film titled Abduct, directed by Ilyas Kaduji and produced by Mafalda Sa. Bell plays himself as he and a group of friends try to help protect a young woman from an alien threat.
Notes
References
Further reading
Ronson, Jon. The Men Who Stare at Goats, Picador, 2004 ; Simon & Schuster, 2006 . Chapter 6, "Privatization," pp. 93–114.
External links
1945 births
2018 deaths
Accidental deaths in Nevada
Amateur radio people
American radio DJs
American radio executives
American talk radio hosts
Businesspeople from Nevada
Coast to Coast AM
Deaths from hypertension
Deaths from lung disease
Drug-related deaths in Nevada
Military personnel from North Carolina
Non-fiction environmental writers
People from Camp Lejeune, North Carolina
People from Jacksonville, North Carolina
People from Pahrump, Nevada
People from Watsonville, California
Radio personalities from Nevada
Ufologists
United States Air Force airmen
University of Maryland, College Park alumni
Writers from Nevada
Writers from North Carolina
20th-century American businesspeople | false | [
"is a long-running TV program broadcast on NHK TV and NHK radio in Japan.\n\nHistory \nNodo Jiman (\"Proud of my voice\") features amateur singers who live in the locality where the competition is held. The first competition was held on the radio in 1946, just after the end of World War II. It has been featured in two Japanese movies.\n\nNodo Jiman celebrated its 70th anniversary in 2015. Boy band SMAP became an integral part of the celebrations, making guest appearances throughout the year. Band member Shingo Katori served as a \"special MC\" alongside regular presenter Sen Odagiri on the 12 April broadcast.\n\nOverview\n\nRegular Show \nEach week Nodo Jiman is broadcast from a different city in one of Japan's 47 prefectures; at the beginning of the show the host would announce the local venue in which the live broadcast is held, then describe the landmarks and culture of the prefecture and city hosting the broadcast.\n\n20 contestants - each of them a solo singer, a duet, or a group of three or more - perform in each week's competition. After being introduced by the host (usually by stating his or her occupation), each contestant states his or her participation number and the name of the song he or she is performing, then has about one minute to perform. At the end of the minute, a certain number of bells are rung to rate the performance. One or two bells means the contestant sang poorly and is eliminated, while a melody of eleven bells means the contestant sang well enough and has passed.\n\nTwo special guests - well-known artists in the Japanese recording industry - appear during each broadcast. They interact with the contestants and give feedback on their performances. After all the contestants have performed, each guest performs one of his or her best songs.\n\nNear the end of the broadcast, one of the guests presents a to one of the eliminated contestants whose performance was thought to be memorable or interesting. Finally, all of the contestants who have passed are called to center stage, and the most outstanding of these is declared .\n\nAnnual Championship \nEvery year, early March, about 15 of the best \"Champions\" performances the year before perform again, this time at NHK Hall, to define who will be the \"Grand Champion\" of the year. The annual edition entitled \"NHK Nodojiman: Champion Tournament\" features three special guests and The New Breed performing the live soundtrack.\n\nPersonnel \nRegular Cast\n Sen Odagiri \n Kisei Akiyama \n The New Breed\n\nReferences\n\nExternal links \n Nodo Jiman site on NHK Online\n \n\n1953 Japanese television series debuts\nJapanese radio programs\n1946 radio programme debuts\nJapanese game shows\nNHK original programming",
"The Ritz-Carlton, Riyadh (Arabic: فندق الريتز كارلتون بالرياض) is a luxury hotel in Riyadh, Saudi Arabia.\n\nHistory\n\nProminent guests\nBetween 21–22 May 2017, President Donald Trump was a guest at the hotel as it hosted events for the 2017 Riyadh summit. Former President Barack Obama was a guest in 2014. In October 2017, the hotel hosted the Future Investment Initiative with over 3,500 invitees.\n\nUse as a prison\n\nSince 4 November 2017 the hotel has been closed to business and become a detention center for those detained as part of the 2017 Saudi Arabian anti-corruption arrests. Guests staying at the hotel were notified that, “Due to unforeseen booking by local authorities which requires an elevated level of security, we are unable to accommodate guests until normal operations are restored.” Guests were ejected and no further bookings were accepted. A notice on the hotel's website read, \"Due to unforeseen circumstances, the hotel’s internet and telephone lines are currently disconnected until further notice.\"\n\nRe-opening to regular guests\nAccording to CNN the hotel re-opened for regular guests in February 2018.\n\nReferences\n\nRiyadh\nHotels established in 2011\nHotels in Saudi Arabia"
]
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"Art Bell",
"Broadcasting career",
"Why did bell screen calls?",
"I don't know.",
"who were bells regular guests?",
"I don't know."
]
| C_154754ebaa4247baae64e5d0cc428c6a_1 | what did he change the program name to? | 3 | What did Art Bell change the name of his broadcasting program to? | Art Bell | During the early 1970s, Bell lived in Watsonville, California and worked for KIDD 630 AM in Monterey, California. He also worked for KMST channel 46. First a rock music disc jockey before moving into talk radio, Bell's original 1978 late-night Las Vegas program on KDWN was a political call-in show under the name West Coast AM. In 1988, Bell and Alan Corberth renamed the show Coast to Coast AM and moved its broadcast from the Plaza Hotel in Las Vegas to Bell's home in Pahrump. Bell abandoned conventional political talk in favor of topics such as gun control and conspiracy theories, leading to a significant bump in his overnight ratings. The show's focus again shifted significantly after the Oklahoma City bombing in 1995. Many in the media did not want to be blamed for inciting anti-government or militia actions like the bombing. Subsequently, Bell discussed off-beat topics like the paranormal, the occult, UFOs, protoscience and pseudoscience. During his tenure at KDWN Bell met and married his third wife, Ramona, who later handled production and management duties for the program. According to The Washington Post in its February 23, 1997 edition, Bell was at the time America's highest-rated late-night radio talk show host, broadcast on 328 stations. According to The Oregonian in its June 22, 1997 edition, Coast to Coast AM with Art Bell was on 460 stations. At its initial peak in popularity, Coast to Coast AM was syndicated on more than 500 radio stations and claimed 15 million listeners nightly. Bell's studios were located in his home in the town of Pahrump, located in Nye County, Nevada; hence the voice-over catchphrase, "from the Kingdom of Nye". CANNOTANSWER | In 1988, Bell and Alan Corberth renamed the show Coast to Coast AM | Arthur William Bell III (June 17, 1945 – April 13, 2018) was an American broadcaster and author. He was the founder and the original host of the paranormal-themed radio program Coast to Coast AM, which is syndicated on hundreds of radio stations in the United States and Canada. He also created and hosted its companion show Dreamland. Coast to Coast still airs nightly.
In 2003, Bell semi-retired from Coast to Coast AM. During the following four years, he hosted the show for many weekends on Premiere Networks. He announced his retirement from weekend hosting in 2007, but occasionally served as a guest host through to 2010. Classic episodes of Coast to Coast AM can be heard in some radio markets on Saturday nights under the name Somewhere in Time hosted by Bell. He started a new nightly show, Art Bell's Dark Matter, on Sirius XM Radio, that aired for six weeks in 2013.
In 2015, he returned to radio with a new show Midnight in the Desert, which was available online via TuneIn as well as some terrestrial radio stations. He announced what would be his final retirement on December 11, 2015, citing security concerns at his home. He said that he and his family were subjected to repeated intrusions on his property in Pahrump, Nevada. The intrusions included gunshots, and he was in fear for his family's safety. He chose to leave the air and along with it public life because he believed that the intruder or intruders wanted him off the air.
Bell was the founder and original owner of Pahrump-based radio station KNYE 95.1 FM. His broadcast studio and transmitter were located near his home in Pahrump, where he also hosted Coast to Coast AM.
Early life
Arthur William Bell III was born in North Carolina on June 17, 1945. Sources differ on whether he was born in Jacksonville or Camp Lejeune. He had a Lutheran background.
Bell was always interested in radio; at the age of 13, he became a licensed amateur radio operator. Bell held an Amateur Extra Class license, which is in the top U.S. Federal Communications Commission license class. His call sign was W6OBB.
Bell served in the U.S. Air Force as a medic during the Vietnam War and in his free time operated a pirate radio station at Amarillo Air Force Base. He would make a point of playing anti-war music (like "Eve of Destruction" and "Fortunate Son") that was not aired on the American Forces Network.
After leaving military service, he remained in Asia, where he lived on the Japanese island of Okinawa. He worked as a disc jockey for KSBK, which was the only non-military English-language station in Japan. While there, he set a Guinness World Record by staying on the air for 116 hours and 15 minutes. The money raised there allowed Bell to charter a Douglas DC-8, fly to Vietnam, and rescue 130 Vietnamese orphans stranded in Saigon at the war's end. They were eventually brought to the United States and adopted by American families.
Bell returned to the United States and studied engineering at the University of Maryland. He dropped out and returned to radio as a board operator and chief engineer, and had the opportunity to be on the air a few times. For several years, he worked behind and in front of the microphone. After a period of working in cable television, in 1986 the 50,000-watt KDWN in Las Vegas, Nevada, offered Bell a five-hour time slot in the middle of the night. Syndication of his program to other radio stations began in 1993.
Broadcasting career
Bell was a rock music disc jockey before he moved into talk radio. His original 1978 late-night Las Vegas program on KDWN was a political call-in show under the name West Coast AM. In 1988, Bell and Alan Corberth renamed the show Coast to Coast AM and moved its broadcast from the Plaza Hotel in Las Vegas to Bell's home in Pahrump.
Bell abandoned conventional political talk in favor of topics such as gun control and conspiracy theories, leading to a significant bump in his overnight ratings. The show's focus again shifted significantly after the Oklahoma City bombing in 1995. Many in the media did not want to be blamed for inciting anti-government or militia actions like the bombing. Subsequently, Bell discussed off-beat topics such as the paranormal, the occult, UFOs, protoscience and pseudoscience. During his tenure at KDWN Bell met and married his third wife, Ramona, who later handled production and management duties for the program.
An article in the February 23, 1997, edition of The Washington Post said that Bell was currently America's highest-rated late-night radio talk show host, broadcast on 328 stations. According to The Oregonian in its June 22, 1997, edition, Coast to Coast AM with Art Bell was on 460 stations. At its initial peak in popularity, Coast to Coast AM was syndicated on more than 500 radio stations and claimed 15 million listeners nightly. Bell's studios were located in his home in the town of Pahrump, located in Nye County, Nevada; hence, the voice-over catchphrase, "from the Kingdom of Nye".
Critical reputation
Fans regarded Bell as a master showman, noting that he called his show "absolute entertainment" and expressly said he did not necessarily accept every guest or caller's claims, but only offered a forum where they would not be openly ridiculed. Bell was one of only a few talk show hosts who did not screen incoming calls, but this changed in 2006. On the October 31, 2006, edition of Coast to Coast AM, (renamed for the night to Ghost to Ghost AM), Bell was asked why he was now using call-screeners. The explanation given was that for him to use un-screened open phone lines while in the Philippines would require listeners to call there directly at enormous cost to them. Art admitted that he should have chosen New Zealand instead of the Philippines as an alternative to the USA. He said, "It was a bad choice, and I'll regret it, one day, in the near future."
Bell has earned praise from those who declare that the paranormal deserves a mature outlet of discussion in the media as well as the approval of those simply amused by the nightly parade of bizarre, typically fringe topics. Ed Dames, Richard C. Hoagland, Terence McKenna, Dannion Brinkley, David John Oates, and Robert Bigelow were all regular guests. Some of Bell's regular guests continue to appear on Coast to Coast AM now hosted by George Noory.
Bell's own interests, however, extended beyond the paranormal. He interviewed singers Crystal Gayle, Willie Nelson, Merle Haggard, Eric Burdon and Gordon Lightfoot, comedian George Carlin, writer Dean Koontz, hard science fiction writer Greg Bear, X-Files writer/creator Chris Carter, TV talk host Regis Philbin, Star Trek actor Leonard Nimoy, actor Dan Aykroyd, former Luftwaffe pilot Bruno Stolle, actress Jane Seymour, actress Ellen Muth, actor and TV host Robert Stack, human rights lawyer John Loftus, legendary disc jockey Casey Kasem, UFC commentator Joe Rogan and frequent guests physicist Michio Kaku and SETI astronomers Seth Shostak and H. Paul Shuch.
Beginning in late 1996, Bell was criticized for reporting rumors that Comet Hale–Bopp was being trailed by a UFO. Some speculated that members of the Heaven's Gate group committed mass suicide based on rumors Bell aired, but others dismissed the idea, noting that the Heaven's Gate website stated: "Whether Hale-Bopp has a 'companion' or not is irrelevant from our perspective." Susan Wright reported, however, that Bell was also "one of the first to publicize expert opinions refuting the 'alien' companion" said to have been shadowing Hale-Bopp, such as that published in 1998 from the Jet Propulsion Laboratory suggesting that "the satellite's main diameter is ~30 km," (20 miles) and accordingly natural rather than artificial.
Callers and guests
On August 15, 1996, Bell interviewed William Luther Pierce, author of The Turner Diaries, in which Pierce—writing under the pseudonym "Andrew Macdonald"—depicted a race war leading to the extermination of Jews, non-whites and gay people. Pierce denounced interracial marriage, calling white people who married non-whites "traitors to the white race"—apparently unaware that Bell himself was in an interracial marriage, as his then-wife, Ramona Bell, was an Asian-American of Filipino descent (his wife Airyn whom he married after Ramona's death was also Filipino).
One of Bell's Coast to Coast interviews occurred in 1997 with Mel Waters who discussed what is known as "Mel's Hole" in rural Washington State. The opening is said to be a fantastically deep vertical shaft which possesses bizarre properties. No such hole has ever been physically located by anyone attempting to verify this story.
A caller in 2000 named "Daniel Murray" claimed he was a Majestic Agent from Downey, California.
This call served as the inspiration for the alternate reality game Majestic.
A caller in September 1997 claimed he had discovered an unknown threat and conspiracy from Area 51, and his life was in danger by even talking about it. For unknown reasons, Bell lost connection to his transmitter during the call and, just as the caller's voice became more and more agitated, the entire broadcast dramatically went silent. A confused Bell restored the signal about 20 minutes later. The caller (or someone sounding similar) called in on a subsequent show and admitted it had been an elaborate hoax, which fooled many. Audio from the call was used in the Tool song "Faaip De Oiad," on the album Lateralus.
Amateur radio
Bell became a licensed amateur radio operator at the age of 13. His first call sign was KN3JOX, first listed in the Winter 1959 edition of the Radio Amateur Callbook. He soon upgraded to K3JOX, and he later held W2CKS, first listed in the Spring 1967 Callbook. Bell held an Amateur Extra Class license, which is the highest U.S. Federal Communications Commission amateur license class. His call sign was W6OBB.
Bell passed the Philippines amateur radio exams and became a Philippine Class A amateur radio operator with the call sign of 4F1AB. While in the Philippines, Bell was active on 40-10 Meters, as well as 144.600 MHz simplex in Manila.
Honors
In 1998, Bell was named as recipient of the Snuffed Candle Award by the Committee for Skeptical Inquiry's Council for Media Integrity. Bell was recognized by the Council for "perpetuating conspiracy myths... and mystery mongering". When Bell learned of the award he replied "A mind should not be so open that the brains fall out, however it should not be so closed that whatever gray matter which does reside may not be reached. On behalf of those with the smallest remaining open aperture, I accept with honor."
In August 2006 Art was inducted into the Nevada Broadcasters Association Hall of Fame. He did not attend the presentation.
On March 10, 2007, Bell would be honored with the News/Talk Radio Lifetime Achievement Award from the trade publication Radio & Records in Los Angeles.
Bell was inducted into the National Radio Hall of Fame in 2008.
Marriages
Airyn Ruiz, April 11, 2006 – April 13, 2018 (his death). Children: Asia Rayne Bell and Alexander William Bell.
Ramona Lee Hayes, August 4, 1991 – January 5, 2006 (her death) † (see below)
Vickie L. Baker, married March 1, 1981, divorced, July 3, 1991. Children: Arthur William Bell IV
Sachiko Toguchi Bell Pontius, married 1965, divorced 1968. Children: Vincent Pontius, Lisa Pontius Minei.
Retirements and comebacks
Bell retired and returned to Coast to Coast AM several times.
On October 13, 1998, Bell announced his first retirement, which was highly unexpected by his listeners. He spoke of "an event, a threatening terrible event occurred to my family, which I could not tell you about. Because of that event, and a succession of other events, what you're listening to right now is my final broadcast on the air." Hilly Rose filled in after Bell's departure. Bell returned on October 28, 1998, asserting that the brief departure was brought on by threats made against his family. On May 29, 1999, Bell explained that this retirement was due to an allegation made by hosts of WWCR shortwave radio that Bell had paid to cover up a criminal indictment. The facts of the matter became public knowledge in 2000, when the media revealed that an actual criminal indictment was filed against a person who had assaulted a member of Bell's family. Because of the nature of the crime, Bell had wanted to keep the matter private. Ted Gunderson, the former head of the Los Angeles FBI and the hosts at WWCR shortwave radio had accused Bell of the crime. Bell responded by taking legal action against Gunderson, as well as the hosts and stations. The action was resolved in a settlement in 2000.
On April 1, 2000, Bell again announced his retirement. He said that the event would occur on April 26, 2000, but offered no details other than expressing intentions to "resolve a family crisis." On April 11, 2000, Mike Siegel was introduced as the new host of Coast to Coast AM, taking over on April 27, to an estimated audience of 22 million listeners. The media later explained that Bell had left to deal with the aftermath of the kidnap and sexual assault of his son. Brian Lepley, a substitute teacher, was convicted of sexual assault and attempted transmission of HIV and was sentenced to 10 to 25 years. Bell returned to Coast to Coast AM in February 2001. Bell noted that since his departure the show had lost a number of affiliates, commercial content had risen to an unbearable level, and Siegel had taken the program in a "different direction" of which Bell disapproved. Bell retained some authority over the program as its creator and felt his return was necessary.
On October 23, 2002, Bell announced that he would retire due to recurring back pain, which was the result of a fall from a telephone pole during his youth. Bell was replaced by George Noory as weekday host of Coast to Coast AM on January 1, 2003. Those close to the matter also said that Barbara Simpson would host weekends and that Bell planned to be an occasional guest host for Noory. Bell returned in September 2003 as a weekend host, replacing Barbara Simpson and Ian Punnett as host of the Saturday and Sunday evening broadcasts. In June 2005, he scaled this schedule back, calling it a "semiretirement," and hosted only the last two Sundays of every month. Bell went back to hosting every weekend show as his schedule permitted after his wife Ramona's death a few months later.
On July 1, 2007, Bell announced his retirement, stating that he wished to spend more time with his new wife and daughter. He made it explicitly clear that, unlike the circumstances surrounding previous retirements, this decision was an entirely positive and joyful one and that he would not disappear completely, announcing an intention to occasionally substitute for other hosts and host "special" shows.
On December 11, 2015, Bell posted what would be his final retirement message via his Facebook page. He cited safety concerns for his family by saying "if one of them were harmed because of what I love doing my life would be over." Throughout the fall, Bell reported several incidents where an unknown number of armed trespassers came onto his property, sometimes firing gunshots. These events have been said to occur during or around the time of his broadcasting. This announcement came a mere five months after the start of his most recent show, Midnight in the Desert.
Events of 2006
Bell's life took some dramatic twists in the beginning of 2006:
Death of Ramona Bell
On January 5, 2006, Ramona Bell, his wife of 15 years, died unexpectedly at the age of 47 of what appeared to be an acute asthma attack in Laughlin, Nevada, where the couple had been taking a short vacation.
During the January 22 broadcast of Coast to Coast AM, Bell described in great detail the events surrounding his wife's death. For weeks thereafter, callers to the station would speak to George Noory and express their sadness and sympathy for Bell; Noory had taken Bell's place on weekdays beginning in 2002.
Change in schedule
On January 21, 2006, 16 days after the unexpected death of his wife Ramona, Bell announced he would host Coast to Coast AM every Saturday and Sunday evening, and that former weekend host Ian Punnett would work a new live prefeed program for the four hours preceding Bell's slot on Saturday nights (9:00 pm – 1:00 am ET).
New marriage
By the end of January, Bell began hinting that he was making a significant life decision, but that he would keep it a secret for at least one year, asking listeners to remind him in 2007 to let them in on it. By March, he was saying that he would soon take a "huge risk" and "do something rash". On April 15, 2006, he ended the mystery and, to the mild surprise of listeners, revealed that, after several weeks of mourning, he had recently gone to the Philippines and married Airyn Ruiz.
Return to "the High Desert and the Great American Southwest"
Bell opened his December 28, 2006, program by disclosing that he had just relocated back to Pahrump, Nevada, with Ruiz, who had obtained the necessary paperwork for immigrating to the United States.
Events of 2008
On May 29, 2008, Bell sold KNYE to Station Manager Karen Jackson.
On September 8, 2008, Noory stated that he would be hosting the annual Ghost to Ghost AM Halloween call-in show rather than Bell, who normally returns to the Coast to Coast to host it (along with the New Year's prediction shows).
On November 30, 2008, Bell hosted Coast to Coast AM. Michio Kaku was the guest. This was the first time Bell had hosted the show since May 23, 2008.
Bell was inducted into the National Radio Hall of Fame in 2008.
Events of 2009
Bell returned to Coast to Coast AM on February 20, 2009, for a discussion on the global financial crisis with Wall St. insider Michael J. Panzner. Bell and Panzner agreed the United States was headed for an economic depression.
Bell was scheduled to return to Coast to Coast AM on April 24, 2009, to host an evening of open lines, but because of engineering problems in Manila, Bell was rescheduled to a later date.
On May 17, 2009, Bell returned to host Coast to Coast AM live from Manila. His guest was professor Peter Ward. Topics of discussion were mass extinctions, Earth's "self-destructive" phenomena, and life beyond planet Earth. While on the air, Bell answered an email question from a listener who asked why he was in the Philippines again and how long he'd be there. Bell replied that he'd address it on "Friday" and hinted that his move might be permanent.
As of May 20, 2009, the Coast to Coast website listed that Bell would be filling in for George Noory on Friday, May 22, 2009, to interview Bob Koontz. However, Bell did not do that show. The Coast to Coast website, again, cited technical difficulties in Manila and that his interview would be postponed. Bell interviewed Koontz on Saturday, June 6, 2009.
Friday June 26, 2009, Bell hosted Coast to Coast AM from Manila with guest Dean Radin. He also commented on the death of Michael Jackson and how he had lived in Pahrump, Nevada, not too far away from where Bell lived.
Friday November 20, 2009, Bell hosted Coast to Coast AM from Manila with guest Starfire Tor, psi researcher and experiencer who discussed time shifts and time slips, and other strange occurrences of time. During the first 90 minutes, they were joined by Whitley Strieber, who shared his take on Tor's research.
On Wednesday, December 30, and Thursday, December 31, 2009, Bell once again hosted his annual New Year's predictions special of Coast to Coast, noting that a number of the predictions this year were of an unusual and interesting nature and not mere repeats of many that had come before, though he also took several callers to task for seemingly veiling their obvious political agendas or wishes in the form of predictions, rather than offering up something from their "psychic center," which is what he repeatedly asks for during the prediction show. He also suggested that maybe Coast to Coast AM should institute some sort of prize or acknowledgment for listeners whose predictions are particularly accurate or astute.
Immigration controversy
In late 2008, Bell and his wife filed an I-751 petition with the United States Citizenship and Immigration Services as part of her marriage-based green card process. In early 2009 the USCIS responded that they would need additional evidence to prove that Bell's marriage to a Philippine national and subsequent green card application was in good faith. Bell responded with evidence including their marriage license, their daughter's birth certificate, Bell's last will and testament, bank records, family photos, and Social Security forms. Bell sent the package to the USCIS by return receipt mail, and he subsequently received the return receipt stamped "USCIS RECEIVED JAN-15-09."
On March 10, 2009, Bell and his wife and daughter left Nevada for Manila to deal with some family business including the disposition of a condo they owned. Shortly thereafter, the USCIS denied the application on the grounds that the documentary evidence was never received, and further stipulated that Airyn Bell is not permitted to re-enter the United States, which is why Bell remained in the Philippines. Moreover, since the Bells were out of the country when the application was denied, they were required to start the process all over again.
On his June 6 broadcast, Bell explained the situation and asked his listeners to send emails on his behalf to the White House.
Events of 2010–15
Bell hosted 10 episodes in 2010, 5 short of his publicly announced, contractually specified quota of 15 shows per year. His last hosting gig was his annual Ghost to Ghost show on Halloween night (this was the first show ever wherein Bell used call screeners). At the end of that broadcast, Bell said "When they next call my name we'll come back and we'll do this one more time."
As of December 2010, Bell was no longer listed as a host on the Coast to Coast website; his shows were no longer searchable under his name; and the only references to Bell on the site were of an historical/archival nature. However, the weekly Somewhere in Time with Art Bell broadcasts of classic Bell-hosted episodes (which have aired before the live show on Saturday nights since 2006) were not discontinued.
On December 21, 2010, the "HamCam" on Bell's ham radio website featured an image with the following cryptic wording: "The Wind No Longer Blows, in the End it was Without Direction. Long Live the Hot Air. 30" "-30-" is journalistic shorthand for "end of story."
It was announced in late December 2010 that Ian Punnett would host Bell's annual two-part New Year's Eve prediction shows. Initially, Noory had said that Bell was unable to host them because he would be traveling, but on December 24, 2010, Noory said: "We had asked Art to do his predictions show; he's going to spend time with his family. He's winding down, folks, he's winding down...I don't anticipate he'll do any more shows." On the first of the two nights (December 30, 2010), Punnett made a brief, oblique reference to his having the honor of "picking up [Bell's] fallen mantle." On the January 1, 2011, show, Punnett stated he was "looking forward to doing the follow-up a year from now."
In email interactions with fans who have written in to inquire about Bell's absence, Coast personnel confirmed that Bell had retired. According to Coast webmaster Lex Lonehood: "Art Bell decided he no longer wished to do live C2C shows, and asked that his name be removed from the host listings accordingly. Classics and Somewhere in Time shows will continue as is." Coast producer Lisa Lyon told another fan that Bell "has chosen to retire," but that "Art Bell will always be associated with our show, and he is welcome back to the mic whenever he feels the need."
Despite the above remarks from Punnett, Noory, Lyon, Lonehood and Bell, as of January 6, 2011, an official public statement formally confirming Bell's departure from Coast to Coast AM has yet to be made via press release, website announcement or on-air, by any party with the authority to do so—the show's producers, Premier Radio Networks, Clear Channel Communications, or Bell himself. This lack of information has led to rampant speculation among Bell's fanbase as to the motivations and circumstances behind Bell's sudden absence; whether he had given his last live broadcast; and what—if anything—he might decide to do next.
During a chat on February 8, 2011, events became even more confusing for Bell's fans as George Noory, during a public chat responding to a question regarding Bell, stated that Bell isn't responding to his emails. The questioner, "Coalspeaker," asked "Have you spoken to Art Bell lately? And if so is he and his family doing well?" Noory responded by saying, "No I haven't. Art has decided to retire for good this time. I assume all is well for him and his family. He has gone through many ups and downs. I sent him a very lengthy email a few months ago, and he never responded. Though he normally would." There was no further explanation beyond that point on why Bell did not respond to Mr. Noory's email, although it only led Bell's fanbase to speculate further.
In March 2011 a Facebook profile appeared claiming to be the legitimate page of "Arthur W. Bell III," who posted hints that there would be a "big announcement" at the end of April 2011. After much speculation and debate among fans and friends on that page and various Bell forums, and finally after direct intervention from a verified Bell account, the "Arthur W. Bell III" page was proven to be a hoax, with no "big announcement" imminent.
On July 20, 2011, Bell announced via his Facebook page that he had relocated with his family to Pahrump, Nevada. Subsequent posts indicate Bell and his family initially focusing on resettling his house and making it "fit for human habitation" again, giving no indication about his radio plans, if any (beyond maintaining his HAM activity). However, on July 30, Bell posted the following: "There is so much to do and only so many hours in the day. There are things going on in the background that I will talk about at the proper time. The move was a big one and we need time to adjust."
On August 19, 2011, Bell announced via Facebook "Phrase for the day...Stay tuned!", followed on August 31 by the message "Sorry for so few posts but we are working on this house every day like dogs, much more soon." Some Bell fans voiced speculation that the phrase "stay tuned" may have been meant to indicate Bell's return to broadcasting in some form, but 2011 ended with no such announcement forthcoming, though shortly before Christmas he did report that a malfunctioning fire extinguisher in his radio room caused tens of thousands of dollars' worth of damage to his equipment and house.
On August 20, 2012, Bell spoke of his grievances with Premiere Networks, claiming that he would soon tell the full story of the truth of his retirement. "I am just about ready to tell the real story of my so-called 'Retirements'. I have asked Premiere to stop the Saturday broadcasts and thus far they have not done so, as is their legal right. Free speech remains my right. I will soon exercise it."
On November 1, 2012, Bell updated his Facebook status with the following: "I wish my name was no longer associated with what Coast has become!"
Return to radio in 2013
In January 2013, Bell announced on Facebook, "I am now in negotiation for a new Radio show, stay tuned. No promises but the wind may be about to change direction!"
"I guess it is time to end any further speculation that I will return to the air any time soon. I have given (2) very solid offers a lot of thought and have turned them down. My reasons are many, though I am profoundly sad at the current state of the show, both offers would have been direct competition with Coast and anger is the wrong reason to proceed. Also I really do not want to destroy what I built despite its current state. Asia will be in first grade in the Fall and getting up very early, I would be up late and sleeping late, I would not see much of her or Airyn. Life is short and I want to spend what I have left with my Family. I hope my friends understand..."
In June 2013, Bell announced on his Facebook page that his official website, artbell.com, would be relaunching. On July 10, 2013, a red, white, and blue textual representation of a smiley face was displayed on the website. The site's favicon is a picture of a grey alien. On July 11, 2013, the smiley face was replaced with a red, white, and blue Morse code script that translated to "Wanna take a ride?".
On July 29, 2013, Bell officially announced a return to the airwaves with a launch date of September 16, 2013. His new show Art Bell's Dark Matter was broadcast on SiriusXM satellite radio's Indie Talk channel (channel #104), Monday through Thursday from 7 PM to 11 PM PT with repeats during the remainder of the night and "best of" shows airing on Fridays. His official website was updated on that date to include the announcement.
On November 4, 2013, Bell left Dark Matter after only six weeks.
On November 7, 2013, Bell announced and began testing for potential Internet streaming sources.
Midnight in the Desert radio show
On July 20, 2015, Bell returned with his new show Midnight in the Desert. The show aired on the internet Dark Matter Digital network and on 45 stations (20 of which signed on before the show started) from 9 PM to midnight PT. He also started transmitting on shortwave radio on WTWW at 5.085 MHz as well.
On December 11, 2015, Bell announced that he had permanently stepped down as host of Midnight in the Desert due to concerns about his family's safety. Bell had reported multiple instances of someone shooting firearms at and near his property in the fall of 2015. The show Midnight in the Desert continued with new host Heather Wade, and shortly after Art's death Dave Schrader became the host. Bell made the occasional guest host appearance.
Death
Art Bell died April 13, 2018, at age 72 at his home in Pahrump, Nevada. An autopsy was scheduled for the following days to determine the cause of his death. He had suffered from health problems in the previous years. He posted on his website in July 2016 that he was hospitalized for pneumonia and revealed at the time that he suffered from chronic obstructive pulmonary disease.
On August 1, 2018, the Las Vegas Review-Journal reported the Clark County coroner's office findings. The coroner's office stated that Bell died of an accidental overdose from a cocktail of prescription drugs. The coroner's office determined he had four prescription medications in his system: the opioids oxycodone or Roxicet and hydrocodone or Vicodin, diazepam or Valium, and carisoprodol or Soma, a muscle-relaxant. Chronic obstructive pulmonary disease and hypertension also contributed to his death.
George Noory, current host of Coast To Coast AM, announced Bell's death and while struggling to keep his composure stated, "Art and I were not that close. We had our differences, but he was one of those instrumental in me being where I am right now."
Books
Bell wrote, or co-wrote, several books, including The Quickening: Today's Trends, Tomorrow's World; The Art of Talk (an autobiography); The Source: Journey Through the Unexplained; The Edge: Man's Mysterious Past & Incredible Future; and The Coming Global Superstorm (co-authored with Whitley Streiber), which became the basis for the popular movie, The Day After Tomorrow.
Other work
In 1996, Bell appeared in an episode of the NBC science fiction series Dark Skies as William S. Paley, head of CBS.
On September 30, 1998, NBC's Today Show aired a taped segment of reporter Fred Francis interviewing Bell. Francis questioned Bell about Hale-Bopp, Area 51, eccentric callers claiming to be "six-fingered alien hybrids", as well as the UFO sighting experienced by Bell and his wife Ramona.
In 1999, Bell appeared as himself on the series Millennium. The episode called "Collateral Damage" aired in the third season and dealt with a former U.S. soldier who claimed the government he fought for was indeed responsible for horrendous tests on soldiers and Iraqi civilians. (This episode was broadcast on January 22, 1999. The Washington Post, January 22, 1999.) In 1999 Bell was interviewed on Larry King Live. (This was broadcast on March 5, 1999. The Washington Post, March 5, 1999.)
Progressive rock band Tool's 2001 album, Lateralus, featured a track entitled "Faaip de Oiad" (Enochian for "The Voice of God"), which includes a clip of the "distraught and terrified" Area 51 employee call from September 11, 1997.
In 2005, Bell and then-wife Ramona were featured on the ABC News special: Peter Jennings Reporting: UFOs – Seeing Is Believing, which reported on the entire scope of the UFO experience, from the first sighting by Kenneth Arnold in 1947 to the present day. (This was broadcast on February 24, 2005. The Washington Post, 2-20-05.)
In 2005, snippets of Bell and callers to his show were featured on the song "Conspiracy Radio" on Sean Hogan's album Catalina Sunrise: Bell is credited for "voice-overs" on this track.
In 2006, Bell was featured in the video game Prey and played himself. He hosts, as in real life, Coast to Coast AM, and the player is able to listen to the broadcast at several terminals throughout the game. The broadcasts describe what is happening on Earth as the game unfolds. The game plot centers around a massive spaceship and alien abductions. Bell receives a number of calls about people who have seen smaller craft as they abduct people.
In 2007, Bell appeared as himself in the movie I Know Who Killed Me.
Bell appeared alongside Mark Arnold in the 2016 film titled Abduct, directed by Ilyas Kaduji and produced by Mafalda Sa. Bell plays himself as he and a group of friends try to help protect a young woman from an alien threat.
Notes
References
Further reading
Ronson, Jon. The Men Who Stare at Goats, Picador, 2004 ; Simon & Schuster, 2006 . Chapter 6, "Privatization," pp. 93–114.
External links
1945 births
2018 deaths
Accidental deaths in Nevada
Amateur radio people
American radio DJs
American radio executives
American talk radio hosts
Businesspeople from Nevada
Coast to Coast AM
Deaths from hypertension
Deaths from lung disease
Drug-related deaths in Nevada
Military personnel from North Carolina
Non-fiction environmental writers
People from Camp Lejeune, North Carolina
People from Jacksonville, North Carolina
People from Pahrump, Nevada
People from Watsonville, California
Radio personalities from Nevada
Ufologists
United States Air Force airmen
University of Maryland, College Park alumni
Writers from Nevada
Writers from North Carolina
20th-century American businesspeople | true | [
"What's My Name? was a 30-minute radio program in the United States. The program was hosted by Arlene Francis and was among the first radio shows to offer cash prizes to contestants.\n\nFormat\nContestants on What's My Name? had to identify a person from a maximum of 10 clues given by the show's two hosts. People to be identified were celebrities and historical characters. In the show's early days, a correct guess on the first clue earned the contestant $10; the amount earned dropped by $1 with each additional clue. In 1948, the top prize was increased to $100, with $50 and $25 prizes, respectively, for identification on the second and third clues.\n\nThe program also involved listener participation to some extent, as listeners could send in questions to be used on the air. People who submitted questions received $10 for each question used.\n\nA review of the first episode of What's My Name? offered little hope for its future, calling it \"a rather drab show.\" The reviewer explained: \"The program got off to a bad start in that the participants, for the most part, were unable to guess the identities of the characters asked for in the game until long after the listeners got the drift of the proceedings.\" The reviewer did, however, note that the show was \"ably conducted by Bud Hulick and Arlene Francis.\"\n\nFrancis was a constant on What's My Name?, serving as the hostess in all eight of its iterations on radio while her male counterparts changed. Hulick was the host in three versions. Other hosts over the years were Fred Uttal, John Reed King, Ward Wilson and Carl Frank. Harry Salter and his orchestra provided the music.\n\nOne source noted that What's My Name? \"helped make a broadcasting fixture out of Arlene Francis.\"\n\nA 1942 review gave What's My Name? a much better evaluation than the earlier review mentioned above. Paul Ackerman wrote in The Billboard, \"Name is well produced, moves quickly and manages to maintain an informal atmosphere directly traceable to Miss Francis's and Mr. King's manner with the contestants.\"\n\nBackground\nWhat's My Name? was the brainchild of radio writers Joe Cross and Ed Byron. An August 1940 magazine article related that, after listening to a program called Professor Quiz, \"the two of them shut themselves up in a hotel room, vowing they wouldn't come out until they'd thought up a game program that was as much fun as Professor Quiz. What's My Name? was the result.\"\n\nTelevision\n\nA version of What's My Name? was incorporated into the Paul Winchell-Jerry Mahoney Show on television. The program (originally titled The Speidel Show after its sponsor) ran from September 18, 1950 to May 23, 1954. In the show's early years, each episode began with a comedy skit featuring Winchell and Mahoney. That skit was followed by a quiz segment, What's My Name?, similar to the radio program. The host for the quiz was Ted Brown.\n\nThe TV version of the quiz failed to achieve the success of its radio predecessor. A review in The Billboard in August 1951 said: Speidel has tried hard all season to combine the very accomplished Paul Winchell and Jerry Mahoney team and the former What's My Name? format into a successful stanza. The attempt has failed and, if anything, the talents of the ventriloquist and his little pal have been blunted by misuse.\"\n\nBy 1953, the What's My Name? component of the Paul Winchell-Jerry Mahoney Show had been removed.\n\nBroadcast Schedule\n\nNote: \"NA\"—information was not listed on the cited page.\n\nReferences \n\nAmerican game shows\n1930s American radio programs\n1940s American radio programs\n1950s American radio programs\nAmerican radio game shows\n1930s American game shows\n1940s American game shows\n1950s American game shows\nMutual Broadcasting System programs\nNBC radio programs\nABC radio programs",
"Tae Soo Do is a name that has been used over the years by both the Taekwondo and the Hwa Rang Do communities. In relation to Taekwondo, it was the name that some major schools in South Korea agreed to call their martial art systems due to reactions to controversies within the Taekwondo communities in the early 1960s. In relation to Hwa Rang Do, Tae Soo Do is the name of their introductory program to help students develop their fundamentals and help prepare them for their training in Hwa Rang Do. Modern day Tae Soo Do/ Hwa Rang Do has no connection with Taekwondo and one should not be mistaken for the other.\n\nPrevious Use in Relation to Taekwondo \n\nIn 1961, the name Taekwondo was temporarily dropped by members of the Taekwondo community due to controversies that arose between various schools and practitioners. In response to these controversies, several of the schools choose to change the name of their art to Tae Soo Do and The Korea Tae Soo Do Association submitted its documented to the Ministry of Education on September 22, 1961. A general in the Korean military and a predominant member of the Taekwondo community, Choi Hong Hi, was unhappy with this change and in 1965, he succeeded in changing the name of the art back to Taekwondo with the reformation of The Korean Taekwondo Association.\n\nToday, the name Tae Soo Do is no longer used by Taekwondo practitioners or schools. Very few people who practice Taekwondo today will recognize the name except for its modern use with the Hwa Rang Do community. In the west, the art was always referred to as \"Tae Kwon Do\" (or \"Taekwondo\", the western form of the name), due to that the controversies that happened in Korea during the early 1960s never made their way over to the United States aside from a very select few, who chose to watch eastern culture and events closely in order to keep traditions alive and accurate.\n\nModern Use in Relation to Hwa Rang Do \n\nToday, the name Tae Soo Do (Way of the Warrior Spirit, ) refers to a martial art program created in 1990 by the World Hwa Rang Do Association as a beginners program to the martial art system Hwa Rang Do. The World Hwa Rang Do Association decided to use the name because functionally it expressed what they were working to achieve with the students who participate within the program and since it had been rejected outright by General Choi and the Taekwondo community decades earlier, they didn't see an issue using it.\n\nReferences \n\nSouth Korean martial arts"
]
|
[
"Art Bell",
"Broadcasting career",
"Why did bell screen calls?",
"I don't know.",
"who were bells regular guests?",
"I don't know.",
"what did he change the program name to?",
"In 1988, Bell and Alan Corberth renamed the show Coast to Coast AM"
]
| C_154754ebaa4247baae64e5d0cc428c6a_1 | where does he wish he chose instead of the USA? | 4 | Where does Art Bell wish he chose to broadcast instead of the USA? | Art Bell | During the early 1970s, Bell lived in Watsonville, California and worked for KIDD 630 AM in Monterey, California. He also worked for KMST channel 46. First a rock music disc jockey before moving into talk radio, Bell's original 1978 late-night Las Vegas program on KDWN was a political call-in show under the name West Coast AM. In 1988, Bell and Alan Corberth renamed the show Coast to Coast AM and moved its broadcast from the Plaza Hotel in Las Vegas to Bell's home in Pahrump. Bell abandoned conventional political talk in favor of topics such as gun control and conspiracy theories, leading to a significant bump in his overnight ratings. The show's focus again shifted significantly after the Oklahoma City bombing in 1995. Many in the media did not want to be blamed for inciting anti-government or militia actions like the bombing. Subsequently, Bell discussed off-beat topics like the paranormal, the occult, UFOs, protoscience and pseudoscience. During his tenure at KDWN Bell met and married his third wife, Ramona, who later handled production and management duties for the program. According to The Washington Post in its February 23, 1997 edition, Bell was at the time America's highest-rated late-night radio talk show host, broadcast on 328 stations. According to The Oregonian in its June 22, 1997 edition, Coast to Coast AM with Art Bell was on 460 stations. At its initial peak in popularity, Coast to Coast AM was syndicated on more than 500 radio stations and claimed 15 million listeners nightly. Bell's studios were located in his home in the town of Pahrump, located in Nye County, Nevada; hence the voice-over catchphrase, "from the Kingdom of Nye". CANNOTANSWER | CANNOTANSWER | Arthur William Bell III (June 17, 1945 – April 13, 2018) was an American broadcaster and author. He was the founder and the original host of the paranormal-themed radio program Coast to Coast AM, which is syndicated on hundreds of radio stations in the United States and Canada. He also created and hosted its companion show Dreamland. Coast to Coast still airs nightly.
In 2003, Bell semi-retired from Coast to Coast AM. During the following four years, he hosted the show for many weekends on Premiere Networks. He announced his retirement from weekend hosting in 2007, but occasionally served as a guest host through to 2010. Classic episodes of Coast to Coast AM can be heard in some radio markets on Saturday nights under the name Somewhere in Time hosted by Bell. He started a new nightly show, Art Bell's Dark Matter, on Sirius XM Radio, that aired for six weeks in 2013.
In 2015, he returned to radio with a new show Midnight in the Desert, which was available online via TuneIn as well as some terrestrial radio stations. He announced what would be his final retirement on December 11, 2015, citing security concerns at his home. He said that he and his family were subjected to repeated intrusions on his property in Pahrump, Nevada. The intrusions included gunshots, and he was in fear for his family's safety. He chose to leave the air and along with it public life because he believed that the intruder or intruders wanted him off the air.
Bell was the founder and original owner of Pahrump-based radio station KNYE 95.1 FM. His broadcast studio and transmitter were located near his home in Pahrump, where he also hosted Coast to Coast AM.
Early life
Arthur William Bell III was born in North Carolina on June 17, 1945. Sources differ on whether he was born in Jacksonville or Camp Lejeune. He had a Lutheran background.
Bell was always interested in radio; at the age of 13, he became a licensed amateur radio operator. Bell held an Amateur Extra Class license, which is in the top U.S. Federal Communications Commission license class. His call sign was W6OBB.
Bell served in the U.S. Air Force as a medic during the Vietnam War and in his free time operated a pirate radio station at Amarillo Air Force Base. He would make a point of playing anti-war music (like "Eve of Destruction" and "Fortunate Son") that was not aired on the American Forces Network.
After leaving military service, he remained in Asia, where he lived on the Japanese island of Okinawa. He worked as a disc jockey for KSBK, which was the only non-military English-language station in Japan. While there, he set a Guinness World Record by staying on the air for 116 hours and 15 minutes. The money raised there allowed Bell to charter a Douglas DC-8, fly to Vietnam, and rescue 130 Vietnamese orphans stranded in Saigon at the war's end. They were eventually brought to the United States and adopted by American families.
Bell returned to the United States and studied engineering at the University of Maryland. He dropped out and returned to radio as a board operator and chief engineer, and had the opportunity to be on the air a few times. For several years, he worked behind and in front of the microphone. After a period of working in cable television, in 1986 the 50,000-watt KDWN in Las Vegas, Nevada, offered Bell a five-hour time slot in the middle of the night. Syndication of his program to other radio stations began in 1993.
Broadcasting career
Bell was a rock music disc jockey before he moved into talk radio. His original 1978 late-night Las Vegas program on KDWN was a political call-in show under the name West Coast AM. In 1988, Bell and Alan Corberth renamed the show Coast to Coast AM and moved its broadcast from the Plaza Hotel in Las Vegas to Bell's home in Pahrump.
Bell abandoned conventional political talk in favor of topics such as gun control and conspiracy theories, leading to a significant bump in his overnight ratings. The show's focus again shifted significantly after the Oklahoma City bombing in 1995. Many in the media did not want to be blamed for inciting anti-government or militia actions like the bombing. Subsequently, Bell discussed off-beat topics such as the paranormal, the occult, UFOs, protoscience and pseudoscience. During his tenure at KDWN Bell met and married his third wife, Ramona, who later handled production and management duties for the program.
An article in the February 23, 1997, edition of The Washington Post said that Bell was currently America's highest-rated late-night radio talk show host, broadcast on 328 stations. According to The Oregonian in its June 22, 1997, edition, Coast to Coast AM with Art Bell was on 460 stations. At its initial peak in popularity, Coast to Coast AM was syndicated on more than 500 radio stations and claimed 15 million listeners nightly. Bell's studios were located in his home in the town of Pahrump, located in Nye County, Nevada; hence, the voice-over catchphrase, "from the Kingdom of Nye".
Critical reputation
Fans regarded Bell as a master showman, noting that he called his show "absolute entertainment" and expressly said he did not necessarily accept every guest or caller's claims, but only offered a forum where they would not be openly ridiculed. Bell was one of only a few talk show hosts who did not screen incoming calls, but this changed in 2006. On the October 31, 2006, edition of Coast to Coast AM, (renamed for the night to Ghost to Ghost AM), Bell was asked why he was now using call-screeners. The explanation given was that for him to use un-screened open phone lines while in the Philippines would require listeners to call there directly at enormous cost to them. Art admitted that he should have chosen New Zealand instead of the Philippines as an alternative to the USA. He said, "It was a bad choice, and I'll regret it, one day, in the near future."
Bell has earned praise from those who declare that the paranormal deserves a mature outlet of discussion in the media as well as the approval of those simply amused by the nightly parade of bizarre, typically fringe topics. Ed Dames, Richard C. Hoagland, Terence McKenna, Dannion Brinkley, David John Oates, and Robert Bigelow were all regular guests. Some of Bell's regular guests continue to appear on Coast to Coast AM now hosted by George Noory.
Bell's own interests, however, extended beyond the paranormal. He interviewed singers Crystal Gayle, Willie Nelson, Merle Haggard, Eric Burdon and Gordon Lightfoot, comedian George Carlin, writer Dean Koontz, hard science fiction writer Greg Bear, X-Files writer/creator Chris Carter, TV talk host Regis Philbin, Star Trek actor Leonard Nimoy, actor Dan Aykroyd, former Luftwaffe pilot Bruno Stolle, actress Jane Seymour, actress Ellen Muth, actor and TV host Robert Stack, human rights lawyer John Loftus, legendary disc jockey Casey Kasem, UFC commentator Joe Rogan and frequent guests physicist Michio Kaku and SETI astronomers Seth Shostak and H. Paul Shuch.
Beginning in late 1996, Bell was criticized for reporting rumors that Comet Hale–Bopp was being trailed by a UFO. Some speculated that members of the Heaven's Gate group committed mass suicide based on rumors Bell aired, but others dismissed the idea, noting that the Heaven's Gate website stated: "Whether Hale-Bopp has a 'companion' or not is irrelevant from our perspective." Susan Wright reported, however, that Bell was also "one of the first to publicize expert opinions refuting the 'alien' companion" said to have been shadowing Hale-Bopp, such as that published in 1998 from the Jet Propulsion Laboratory suggesting that "the satellite's main diameter is ~30 km," (20 miles) and accordingly natural rather than artificial.
Callers and guests
On August 15, 1996, Bell interviewed William Luther Pierce, author of The Turner Diaries, in which Pierce—writing under the pseudonym "Andrew Macdonald"—depicted a race war leading to the extermination of Jews, non-whites and gay people. Pierce denounced interracial marriage, calling white people who married non-whites "traitors to the white race"—apparently unaware that Bell himself was in an interracial marriage, as his then-wife, Ramona Bell, was an Asian-American of Filipino descent (his wife Airyn whom he married after Ramona's death was also Filipino).
One of Bell's Coast to Coast interviews occurred in 1997 with Mel Waters who discussed what is known as "Mel's Hole" in rural Washington State. The opening is said to be a fantastically deep vertical shaft which possesses bizarre properties. No such hole has ever been physically located by anyone attempting to verify this story.
A caller in 2000 named "Daniel Murray" claimed he was a Majestic Agent from Downey, California.
This call served as the inspiration for the alternate reality game Majestic.
A caller in September 1997 claimed he had discovered an unknown threat and conspiracy from Area 51, and his life was in danger by even talking about it. For unknown reasons, Bell lost connection to his transmitter during the call and, just as the caller's voice became more and more agitated, the entire broadcast dramatically went silent. A confused Bell restored the signal about 20 minutes later. The caller (or someone sounding similar) called in on a subsequent show and admitted it had been an elaborate hoax, which fooled many. Audio from the call was used in the Tool song "Faaip De Oiad," on the album Lateralus.
Amateur radio
Bell became a licensed amateur radio operator at the age of 13. His first call sign was KN3JOX, first listed in the Winter 1959 edition of the Radio Amateur Callbook. He soon upgraded to K3JOX, and he later held W2CKS, first listed in the Spring 1967 Callbook. Bell held an Amateur Extra Class license, which is the highest U.S. Federal Communications Commission amateur license class. His call sign was W6OBB.
Bell passed the Philippines amateur radio exams and became a Philippine Class A amateur radio operator with the call sign of 4F1AB. While in the Philippines, Bell was active on 40-10 Meters, as well as 144.600 MHz simplex in Manila.
Honors
In 1998, Bell was named as recipient of the Snuffed Candle Award by the Committee for Skeptical Inquiry's Council for Media Integrity. Bell was recognized by the Council for "perpetuating conspiracy myths... and mystery mongering". When Bell learned of the award he replied "A mind should not be so open that the brains fall out, however it should not be so closed that whatever gray matter which does reside may not be reached. On behalf of those with the smallest remaining open aperture, I accept with honor."
In August 2006 Art was inducted into the Nevada Broadcasters Association Hall of Fame. He did not attend the presentation.
On March 10, 2007, Bell would be honored with the News/Talk Radio Lifetime Achievement Award from the trade publication Radio & Records in Los Angeles.
Bell was inducted into the National Radio Hall of Fame in 2008.
Marriages
Airyn Ruiz, April 11, 2006 – April 13, 2018 (his death). Children: Asia Rayne Bell and Alexander William Bell.
Ramona Lee Hayes, August 4, 1991 – January 5, 2006 (her death) † (see below)
Vickie L. Baker, married March 1, 1981, divorced, July 3, 1991. Children: Arthur William Bell IV
Sachiko Toguchi Bell Pontius, married 1965, divorced 1968. Children: Vincent Pontius, Lisa Pontius Minei.
Retirements and comebacks
Bell retired and returned to Coast to Coast AM several times.
On October 13, 1998, Bell announced his first retirement, which was highly unexpected by his listeners. He spoke of "an event, a threatening terrible event occurred to my family, which I could not tell you about. Because of that event, and a succession of other events, what you're listening to right now is my final broadcast on the air." Hilly Rose filled in after Bell's departure. Bell returned on October 28, 1998, asserting that the brief departure was brought on by threats made against his family. On May 29, 1999, Bell explained that this retirement was due to an allegation made by hosts of WWCR shortwave radio that Bell had paid to cover up a criminal indictment. The facts of the matter became public knowledge in 2000, when the media revealed that an actual criminal indictment was filed against a person who had assaulted a member of Bell's family. Because of the nature of the crime, Bell had wanted to keep the matter private. Ted Gunderson, the former head of the Los Angeles FBI and the hosts at WWCR shortwave radio had accused Bell of the crime. Bell responded by taking legal action against Gunderson, as well as the hosts and stations. The action was resolved in a settlement in 2000.
On April 1, 2000, Bell again announced his retirement. He said that the event would occur on April 26, 2000, but offered no details other than expressing intentions to "resolve a family crisis." On April 11, 2000, Mike Siegel was introduced as the new host of Coast to Coast AM, taking over on April 27, to an estimated audience of 22 million listeners. The media later explained that Bell had left to deal with the aftermath of the kidnap and sexual assault of his son. Brian Lepley, a substitute teacher, was convicted of sexual assault and attempted transmission of HIV and was sentenced to 10 to 25 years. Bell returned to Coast to Coast AM in February 2001. Bell noted that since his departure the show had lost a number of affiliates, commercial content had risen to an unbearable level, and Siegel had taken the program in a "different direction" of which Bell disapproved. Bell retained some authority over the program as its creator and felt his return was necessary.
On October 23, 2002, Bell announced that he would retire due to recurring back pain, which was the result of a fall from a telephone pole during his youth. Bell was replaced by George Noory as weekday host of Coast to Coast AM on January 1, 2003. Those close to the matter also said that Barbara Simpson would host weekends and that Bell planned to be an occasional guest host for Noory. Bell returned in September 2003 as a weekend host, replacing Barbara Simpson and Ian Punnett as host of the Saturday and Sunday evening broadcasts. In June 2005, he scaled this schedule back, calling it a "semiretirement," and hosted only the last two Sundays of every month. Bell went back to hosting every weekend show as his schedule permitted after his wife Ramona's death a few months later.
On July 1, 2007, Bell announced his retirement, stating that he wished to spend more time with his new wife and daughter. He made it explicitly clear that, unlike the circumstances surrounding previous retirements, this decision was an entirely positive and joyful one and that he would not disappear completely, announcing an intention to occasionally substitute for other hosts and host "special" shows.
On December 11, 2015, Bell posted what would be his final retirement message via his Facebook page. He cited safety concerns for his family by saying "if one of them were harmed because of what I love doing my life would be over." Throughout the fall, Bell reported several incidents where an unknown number of armed trespassers came onto his property, sometimes firing gunshots. These events have been said to occur during or around the time of his broadcasting. This announcement came a mere five months after the start of his most recent show, Midnight in the Desert.
Events of 2006
Bell's life took some dramatic twists in the beginning of 2006:
Death of Ramona Bell
On January 5, 2006, Ramona Bell, his wife of 15 years, died unexpectedly at the age of 47 of what appeared to be an acute asthma attack in Laughlin, Nevada, where the couple had been taking a short vacation.
During the January 22 broadcast of Coast to Coast AM, Bell described in great detail the events surrounding his wife's death. For weeks thereafter, callers to the station would speak to George Noory and express their sadness and sympathy for Bell; Noory had taken Bell's place on weekdays beginning in 2002.
Change in schedule
On January 21, 2006, 16 days after the unexpected death of his wife Ramona, Bell announced he would host Coast to Coast AM every Saturday and Sunday evening, and that former weekend host Ian Punnett would work a new live prefeed program for the four hours preceding Bell's slot on Saturday nights (9:00 pm – 1:00 am ET).
New marriage
By the end of January, Bell began hinting that he was making a significant life decision, but that he would keep it a secret for at least one year, asking listeners to remind him in 2007 to let them in on it. By March, he was saying that he would soon take a "huge risk" and "do something rash". On April 15, 2006, he ended the mystery and, to the mild surprise of listeners, revealed that, after several weeks of mourning, he had recently gone to the Philippines and married Airyn Ruiz.
Return to "the High Desert and the Great American Southwest"
Bell opened his December 28, 2006, program by disclosing that he had just relocated back to Pahrump, Nevada, with Ruiz, who had obtained the necessary paperwork for immigrating to the United States.
Events of 2008
On May 29, 2008, Bell sold KNYE to Station Manager Karen Jackson.
On September 8, 2008, Noory stated that he would be hosting the annual Ghost to Ghost AM Halloween call-in show rather than Bell, who normally returns to the Coast to Coast to host it (along with the New Year's prediction shows).
On November 30, 2008, Bell hosted Coast to Coast AM. Michio Kaku was the guest. This was the first time Bell had hosted the show since May 23, 2008.
Bell was inducted into the National Radio Hall of Fame in 2008.
Events of 2009
Bell returned to Coast to Coast AM on February 20, 2009, for a discussion on the global financial crisis with Wall St. insider Michael J. Panzner. Bell and Panzner agreed the United States was headed for an economic depression.
Bell was scheduled to return to Coast to Coast AM on April 24, 2009, to host an evening of open lines, but because of engineering problems in Manila, Bell was rescheduled to a later date.
On May 17, 2009, Bell returned to host Coast to Coast AM live from Manila. His guest was professor Peter Ward. Topics of discussion were mass extinctions, Earth's "self-destructive" phenomena, and life beyond planet Earth. While on the air, Bell answered an email question from a listener who asked why he was in the Philippines again and how long he'd be there. Bell replied that he'd address it on "Friday" and hinted that his move might be permanent.
As of May 20, 2009, the Coast to Coast website listed that Bell would be filling in for George Noory on Friday, May 22, 2009, to interview Bob Koontz. However, Bell did not do that show. The Coast to Coast website, again, cited technical difficulties in Manila and that his interview would be postponed. Bell interviewed Koontz on Saturday, June 6, 2009.
Friday June 26, 2009, Bell hosted Coast to Coast AM from Manila with guest Dean Radin. He also commented on the death of Michael Jackson and how he had lived in Pahrump, Nevada, not too far away from where Bell lived.
Friday November 20, 2009, Bell hosted Coast to Coast AM from Manila with guest Starfire Tor, psi researcher and experiencer who discussed time shifts and time slips, and other strange occurrences of time. During the first 90 minutes, they were joined by Whitley Strieber, who shared his take on Tor's research.
On Wednesday, December 30, and Thursday, December 31, 2009, Bell once again hosted his annual New Year's predictions special of Coast to Coast, noting that a number of the predictions this year were of an unusual and interesting nature and not mere repeats of many that had come before, though he also took several callers to task for seemingly veiling their obvious political agendas or wishes in the form of predictions, rather than offering up something from their "psychic center," which is what he repeatedly asks for during the prediction show. He also suggested that maybe Coast to Coast AM should institute some sort of prize or acknowledgment for listeners whose predictions are particularly accurate or astute.
Immigration controversy
In late 2008, Bell and his wife filed an I-751 petition with the United States Citizenship and Immigration Services as part of her marriage-based green card process. In early 2009 the USCIS responded that they would need additional evidence to prove that Bell's marriage to a Philippine national and subsequent green card application was in good faith. Bell responded with evidence including their marriage license, their daughter's birth certificate, Bell's last will and testament, bank records, family photos, and Social Security forms. Bell sent the package to the USCIS by return receipt mail, and he subsequently received the return receipt stamped "USCIS RECEIVED JAN-15-09."
On March 10, 2009, Bell and his wife and daughter left Nevada for Manila to deal with some family business including the disposition of a condo they owned. Shortly thereafter, the USCIS denied the application on the grounds that the documentary evidence was never received, and further stipulated that Airyn Bell is not permitted to re-enter the United States, which is why Bell remained in the Philippines. Moreover, since the Bells were out of the country when the application was denied, they were required to start the process all over again.
On his June 6 broadcast, Bell explained the situation and asked his listeners to send emails on his behalf to the White House.
Events of 2010–15
Bell hosted 10 episodes in 2010, 5 short of his publicly announced, contractually specified quota of 15 shows per year. His last hosting gig was his annual Ghost to Ghost show on Halloween night (this was the first show ever wherein Bell used call screeners). At the end of that broadcast, Bell said "When they next call my name we'll come back and we'll do this one more time."
As of December 2010, Bell was no longer listed as a host on the Coast to Coast website; his shows were no longer searchable under his name; and the only references to Bell on the site were of an historical/archival nature. However, the weekly Somewhere in Time with Art Bell broadcasts of classic Bell-hosted episodes (which have aired before the live show on Saturday nights since 2006) were not discontinued.
On December 21, 2010, the "HamCam" on Bell's ham radio website featured an image with the following cryptic wording: "The Wind No Longer Blows, in the End it was Without Direction. Long Live the Hot Air. 30" "-30-" is journalistic shorthand for "end of story."
It was announced in late December 2010 that Ian Punnett would host Bell's annual two-part New Year's Eve prediction shows. Initially, Noory had said that Bell was unable to host them because he would be traveling, but on December 24, 2010, Noory said: "We had asked Art to do his predictions show; he's going to spend time with his family. He's winding down, folks, he's winding down...I don't anticipate he'll do any more shows." On the first of the two nights (December 30, 2010), Punnett made a brief, oblique reference to his having the honor of "picking up [Bell's] fallen mantle." On the January 1, 2011, show, Punnett stated he was "looking forward to doing the follow-up a year from now."
In email interactions with fans who have written in to inquire about Bell's absence, Coast personnel confirmed that Bell had retired. According to Coast webmaster Lex Lonehood: "Art Bell decided he no longer wished to do live C2C shows, and asked that his name be removed from the host listings accordingly. Classics and Somewhere in Time shows will continue as is." Coast producer Lisa Lyon told another fan that Bell "has chosen to retire," but that "Art Bell will always be associated with our show, and he is welcome back to the mic whenever he feels the need."
Despite the above remarks from Punnett, Noory, Lyon, Lonehood and Bell, as of January 6, 2011, an official public statement formally confirming Bell's departure from Coast to Coast AM has yet to be made via press release, website announcement or on-air, by any party with the authority to do so—the show's producers, Premier Radio Networks, Clear Channel Communications, or Bell himself. This lack of information has led to rampant speculation among Bell's fanbase as to the motivations and circumstances behind Bell's sudden absence; whether he had given his last live broadcast; and what—if anything—he might decide to do next.
During a chat on February 8, 2011, events became even more confusing for Bell's fans as George Noory, during a public chat responding to a question regarding Bell, stated that Bell isn't responding to his emails. The questioner, "Coalspeaker," asked "Have you spoken to Art Bell lately? And if so is he and his family doing well?" Noory responded by saying, "No I haven't. Art has decided to retire for good this time. I assume all is well for him and his family. He has gone through many ups and downs. I sent him a very lengthy email a few months ago, and he never responded. Though he normally would." There was no further explanation beyond that point on why Bell did not respond to Mr. Noory's email, although it only led Bell's fanbase to speculate further.
In March 2011 a Facebook profile appeared claiming to be the legitimate page of "Arthur W. Bell III," who posted hints that there would be a "big announcement" at the end of April 2011. After much speculation and debate among fans and friends on that page and various Bell forums, and finally after direct intervention from a verified Bell account, the "Arthur W. Bell III" page was proven to be a hoax, with no "big announcement" imminent.
On July 20, 2011, Bell announced via his Facebook page that he had relocated with his family to Pahrump, Nevada. Subsequent posts indicate Bell and his family initially focusing on resettling his house and making it "fit for human habitation" again, giving no indication about his radio plans, if any (beyond maintaining his HAM activity). However, on July 30, Bell posted the following: "There is so much to do and only so many hours in the day. There are things going on in the background that I will talk about at the proper time. The move was a big one and we need time to adjust."
On August 19, 2011, Bell announced via Facebook "Phrase for the day...Stay tuned!", followed on August 31 by the message "Sorry for so few posts but we are working on this house every day like dogs, much more soon." Some Bell fans voiced speculation that the phrase "stay tuned" may have been meant to indicate Bell's return to broadcasting in some form, but 2011 ended with no such announcement forthcoming, though shortly before Christmas he did report that a malfunctioning fire extinguisher in his radio room caused tens of thousands of dollars' worth of damage to his equipment and house.
On August 20, 2012, Bell spoke of his grievances with Premiere Networks, claiming that he would soon tell the full story of the truth of his retirement. "I am just about ready to tell the real story of my so-called 'Retirements'. I have asked Premiere to stop the Saturday broadcasts and thus far they have not done so, as is their legal right. Free speech remains my right. I will soon exercise it."
On November 1, 2012, Bell updated his Facebook status with the following: "I wish my name was no longer associated with what Coast has become!"
Return to radio in 2013
In January 2013, Bell announced on Facebook, "I am now in negotiation for a new Radio show, stay tuned. No promises but the wind may be about to change direction!"
"I guess it is time to end any further speculation that I will return to the air any time soon. I have given (2) very solid offers a lot of thought and have turned them down. My reasons are many, though I am profoundly sad at the current state of the show, both offers would have been direct competition with Coast and anger is the wrong reason to proceed. Also I really do not want to destroy what I built despite its current state. Asia will be in first grade in the Fall and getting up very early, I would be up late and sleeping late, I would not see much of her or Airyn. Life is short and I want to spend what I have left with my Family. I hope my friends understand..."
In June 2013, Bell announced on his Facebook page that his official website, artbell.com, would be relaunching. On July 10, 2013, a red, white, and blue textual representation of a smiley face was displayed on the website. The site's favicon is a picture of a grey alien. On July 11, 2013, the smiley face was replaced with a red, white, and blue Morse code script that translated to "Wanna take a ride?".
On July 29, 2013, Bell officially announced a return to the airwaves with a launch date of September 16, 2013. His new show Art Bell's Dark Matter was broadcast on SiriusXM satellite radio's Indie Talk channel (channel #104), Monday through Thursday from 7 PM to 11 PM PT with repeats during the remainder of the night and "best of" shows airing on Fridays. His official website was updated on that date to include the announcement.
On November 4, 2013, Bell left Dark Matter after only six weeks.
On November 7, 2013, Bell announced and began testing for potential Internet streaming sources.
Midnight in the Desert radio show
On July 20, 2015, Bell returned with his new show Midnight in the Desert. The show aired on the internet Dark Matter Digital network and on 45 stations (20 of which signed on before the show started) from 9 PM to midnight PT. He also started transmitting on shortwave radio on WTWW at 5.085 MHz as well.
On December 11, 2015, Bell announced that he had permanently stepped down as host of Midnight in the Desert due to concerns about his family's safety. Bell had reported multiple instances of someone shooting firearms at and near his property in the fall of 2015. The show Midnight in the Desert continued with new host Heather Wade, and shortly after Art's death Dave Schrader became the host. Bell made the occasional guest host appearance.
Death
Art Bell died April 13, 2018, at age 72 at his home in Pahrump, Nevada. An autopsy was scheduled for the following days to determine the cause of his death. He had suffered from health problems in the previous years. He posted on his website in July 2016 that he was hospitalized for pneumonia and revealed at the time that he suffered from chronic obstructive pulmonary disease.
On August 1, 2018, the Las Vegas Review-Journal reported the Clark County coroner's office findings. The coroner's office stated that Bell died of an accidental overdose from a cocktail of prescription drugs. The coroner's office determined he had four prescription medications in his system: the opioids oxycodone or Roxicet and hydrocodone or Vicodin, diazepam or Valium, and carisoprodol or Soma, a muscle-relaxant. Chronic obstructive pulmonary disease and hypertension also contributed to his death.
George Noory, current host of Coast To Coast AM, announced Bell's death and while struggling to keep his composure stated, "Art and I were not that close. We had our differences, but he was one of those instrumental in me being where I am right now."
Books
Bell wrote, or co-wrote, several books, including The Quickening: Today's Trends, Tomorrow's World; The Art of Talk (an autobiography); The Source: Journey Through the Unexplained; The Edge: Man's Mysterious Past & Incredible Future; and The Coming Global Superstorm (co-authored with Whitley Streiber), which became the basis for the popular movie, The Day After Tomorrow.
Other work
In 1996, Bell appeared in an episode of the NBC science fiction series Dark Skies as William S. Paley, head of CBS.
On September 30, 1998, NBC's Today Show aired a taped segment of reporter Fred Francis interviewing Bell. Francis questioned Bell about Hale-Bopp, Area 51, eccentric callers claiming to be "six-fingered alien hybrids", as well as the UFO sighting experienced by Bell and his wife Ramona.
In 1999, Bell appeared as himself on the series Millennium. The episode called "Collateral Damage" aired in the third season and dealt with a former U.S. soldier who claimed the government he fought for was indeed responsible for horrendous tests on soldiers and Iraqi civilians. (This episode was broadcast on January 22, 1999. The Washington Post, January 22, 1999.) In 1999 Bell was interviewed on Larry King Live. (This was broadcast on March 5, 1999. The Washington Post, March 5, 1999.)
Progressive rock band Tool's 2001 album, Lateralus, featured a track entitled "Faaip de Oiad" (Enochian for "The Voice of God"), which includes a clip of the "distraught and terrified" Area 51 employee call from September 11, 1997.
In 2005, Bell and then-wife Ramona were featured on the ABC News special: Peter Jennings Reporting: UFOs – Seeing Is Believing, which reported on the entire scope of the UFO experience, from the first sighting by Kenneth Arnold in 1947 to the present day. (This was broadcast on February 24, 2005. The Washington Post, 2-20-05.)
In 2005, snippets of Bell and callers to his show were featured on the song "Conspiracy Radio" on Sean Hogan's album Catalina Sunrise: Bell is credited for "voice-overs" on this track.
In 2006, Bell was featured in the video game Prey and played himself. He hosts, as in real life, Coast to Coast AM, and the player is able to listen to the broadcast at several terminals throughout the game. The broadcasts describe what is happening on Earth as the game unfolds. The game plot centers around a massive spaceship and alien abductions. Bell receives a number of calls about people who have seen smaller craft as they abduct people.
In 2007, Bell appeared as himself in the movie I Know Who Killed Me.
Bell appeared alongside Mark Arnold in the 2016 film titled Abduct, directed by Ilyas Kaduji and produced by Mafalda Sa. Bell plays himself as he and a group of friends try to help protect a young woman from an alien threat.
Notes
References
Further reading
Ronson, Jon. The Men Who Stare at Goats, Picador, 2004 ; Simon & Schuster, 2006 . Chapter 6, "Privatization," pp. 93–114.
External links
1945 births
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"The Guest Director position is held by a different individual each year who is invited by the Telluride Film Festival Directors to join them in the creation of the festival program. The guest director serves as a key collaborator in all of the festival's programming decisions, bringing new ideas and, quite often, overlooked films to Telluride. Below is a list of each guest director followed by the films the director specifically chose to highlight.\n\nGuest Directors\n 1988 - Donald Richie chose: Japan's Cutting Edge, a 2-hour collection of Japanese film dating from 1981-1988 and Remembering Sessue Hayakawa, a two film montage of this film great's first roles in the 1914 film Wrath of the Gods and the 1919 film The Dragon Painter\n 1989 - Errol Morris chose: Henry: Portrait of a Serial Killer (USA, 1986, 90min) and Make Way for Tomorrow (USA, 1956, 84min)\n 1990 - Bertrand Tavernier chose: Justin de Marseille (France, 1935, 105min) and Pursued (USA, 1947, 101min)\n 1991 - Laurie Anderson chose: Danzon (Mexico, 1991, 102min) and New Video Art, the first video projection program at the festival which included a series of modern video shorts. \n 1992 - G. Cabrera Infante chose: Laughter (USA, 1929, 99min), Victims of Sin (Mexico, 1950, 85 min) and La Virgen de la Caridad (Cuba, 1930, 90min)\n 1993 - John Boorman chose: Fear and Desire (USA, 1953, 61min), Upstage (USA, 1926, 70min)\n 1994 - John Simon The Easy Life (Aka Il Sorpasso) (Italy, 1962, 105min),One Fine Day (Italy, 1969, 105min) and They Shoot Horses, Don't They? (US, 1969, 125min)\n 1995 - Phillip Lopate\n 1996 - B. Ruby Rich\n 1997 - Peter Von Bagh\n 1998 - Peter Bogdanovich\n 1999 - Peter Sellars\n 2000 - Edgardo Cozarinsky\n 2001 - Salman Rushdie chose: Metropolis (Germany, 1927, 92min), Alphaville (France, 1965, 100min), and Solaris (USSR, 1972, 167min)\n 2002 - Alberto Barbera chose: Bitter Rice (Italy, 1949, 100min), Bandits of Orgosolo (Italy, 1961, 98min) and Il Posto (Italy, 1961, 90min)\n 2003 - Stephen Sondheim chose: La Belle Equipe (France, 1936, 100min), Carnet du Bal (France, 1952, 144min) and Panique (France, 1946, 96min)\n 2004 - Buck Henry\n 2005 - Don DeLillo chose: The Passenger (Italy, 1975, 126min), Wanda (USA, 1970, 102min.), The Spirit of the Beehive (Spain, 1973, 97min.)\n 2006 - J. P. Gorin chose: Maldone (France, 1928, 83min), Remorques (France, 1941, 81min), Lumière d'Ètè (France, 1943, 112min)\n 2007 - Edith Kramer chose: The Way You Wanted Me (Finland, 1944, 102min), Millions Like Us (U.K., 1943, 101min), Marie, a Hungarian Legend (Hungary, 1932, 68min)\n 2008 - Slavoj Zizek\n 2009 - Alexander Payne\n 2010 - Michael Ondaatje\n 2011 - Caetano Veloso\n 2012 - Geoff Dyer chose: Baraka (US, 1992, 96min), Beau Travail (France, 1999, 92min), The Great Ecstasy of Woodcarver Steiner (Germany, 1974, 45min), Lessons of Darkness (France, UK, Germany, 1992, 50min), Stalker (Russia, 1979, 160min), Together (Sweden, 2000, 106 min), Unrelated (UK, 2007, 100min)\n 2013 - 40th year of Festival. Don Delillo - La Morte Rouge (Spain, 2006, 34min) + The Zapruder Film (1963), Buck Henry - The Terminal Man (US, 1972, 107min ), Phillip Lopate - Naked Childhood (France, 1969, 83min), Michael Ondaatje - La Jetee (France, 1962, 28min ) + Elephant (UK, 1989, 39 ), B Ruby Rich - One Way or Another (Cuba, 1974, 78min), Salman Rushdie - Mahanagar (India, 1963, 135min)\n 2014 - Kim Morgan and Guy Maddin chose: California Split (US, 1974, 108min), Il Grido (Italy, 1957, 116min), M [Losey] (US, 1951, 88min), Man's Castle (US, 1933, 75min) The Road to Glory (US, 1936, 103min), Wicked Woman (US, 1953, 77min)\n 2015 - Rachel Kushner chose: The Mother and the Whore (France, 1973, 210min), Mes Petites Amoureuses (France, 1974, 123min), Wake in Fright (Australia, 1971, 114min), Cocksucker Blues (U.S., 1979, 93min), A Day in the Country (France, 1936, 40min), Uncle Yanco (U.S., 1967, 22min), Une Bonne à Tout Faire (U.S./Switzerland, 1981/2005, 8min), The Mattei Affair (Italy, 1972, 116min)\n 2016 - Volker Schlöndorff chose: I Was Nineteen (East Germany, 1968, 119min, It was the Month of May (U.S.S.R., 1970, 109min), The Fire Within (France, 1963, 108min), The Barefoot Contessa (U.S., 1954, 128min), Les Enfants Terribles (France, 1950, 106min), Spies (Germany, 1928, 143min)\n 2017 - Joshua Oppenheimer\n 2018 - Jonathan Lethem\n 2019 - Pico Iyer\n 2021 - Barry Jenkins\n\nReferences\n\nAmerican film awards\nFilm festivals in Colorado\nTelluride, Colorado\nGuest directors",
"Each year, USA Today, an American newspaper, awards outstanding high-school baseball players with a place on its All-USA High School Baseball Team. The newspaper names athletes whom they believe to be the best baseball players from high schools across the United States. The newspaper has named a team every year since 1998.\n\nIn 1989, USA Today began naming an annual USA Today High School Baseball Player of the Year and an annual USA Today High School Baseball Coach of the Year.\n\nIn 1998, the paper also began naming an annual USA Today All-USA High School Baseball Team of nine to 11 players, with one member of the team designated the USA Today High School Baseball Player of the Year.\n\nUSA Today High School Players and Coaches of the Year (1989–1997)\nSee footnote\n\n1995 team\nCoach of the Year: Phil Clark (Germantown High School, Germantown, TN)\n\nHutchinson did not sign with the Braves, who drafted him with the 26th pick of the 1995 draft in the 1st round. Re-entered the MLB draft after attending Stanford and was selected with the 48th pick of the 1998 draft in the 2nd round by the Cardinals.\nHood did not sign with the Twins, who drafted him with the 100th pick of the 1995 draft in the 4th round. Re-entered the MLB draft after attending Georgia Tech and was selected with the 181st pick of the 1998 draft in the 6th round by the Angels.\nValent did not sign with the Tigers, who drafted him with the 714th pick of the 1995 draft in the 26th round. Re-entered the MLB draft after attending UCLA and was selected with the 42nd pick of the 1998 draft in the supplemental 1st round by the Phillies.\n\nPlayer, Coach, and Team of the Year (1998–2003)\nSee footnote\nNote: The first player (in boldface) in each list is the Player of the Year for that season.\n\n1998 team\nCoach of the Year: James Patrick (Clovis High School, Clovis, California)\n\n Henson attended Michigan on a football scholarship while playing in the Yankees minor league system. Retired from baseball in 2004 to pursue football career full-time.\n Teixeira did not sign with the Red Sox, who drafted him with the 265th pick of the 1998 draft in the 9th round. Re-entered the MLB draft after attending Georgia Tech and was selected 5th overall in the 2001 draft by the Rangers.\n\n1999 team\nCoach of the Year: Rocky Manuel (Bellaire High School, Houston, TX)\n\n Osborn did not sign with the Anaheim Angels (now the Los Angeles Angels) who drafted him with 671st Pick of the 1999 draft in the 22nd round. Re-enter the MLB draft after attending University of Florida and was selected 72nd Pick of the 2002 draft in the 2nd Round by the Indians.\n\n2000 team\nCoach of the Year: Sam Blalock (Rancho Bernardo High School, San Diego, CA)\n\n Harrington did not signed with Rockies and re-enter in the MLB Draft the following year.\n\n2001 team\nCoach of the Year: Kenny Kendrena (Bishop Amat High School, La Puente, CA)\n\n Putnam was not chosen in the 2001 MLB Draft. Re-enter the MLB draft after attending Stanford University and was selected 36th pick of the 2004 draft in the Supplemental 1st Round by the (A's).\n Crosby was drafted as the 53rd Pick of the 2001 MLB Draft of 2nd Round by Royals and attended Clemson University on a football scholarship. Played briefly in Royal's minor league system before deciding in returning to Clemson to pursue football full-time.\n\n2002 team\nCoach of the Year: Rick Carpenter (Elkins High School, Missouri City, TX)\n\nClement did not signed with Twins who drafted him with 362nd pick of the 2002 draft in the 12th round. Re-enter the MLB draft after attending USC and was selected 5th pick of the 2005 draft in the 1st Round by the Mariners.\nMayberry did not signed with Mariners who drafted him with 28th pick of the 2002 draft in the 1st round. Re-enter the MLB draft after attending Stanford University and was selected 19th pick of the 2005 draft in the 1st Round by the Rangers.\n\n2003 team\nCoach of the Year: Tom Meusborn (Chatsworth High School, Chatsworth, CA)\n\nPlayer, Coach, and Team of the Year (2004–present)\nSee footnote\nNote: The 2004–2007 teams were selected by USA Today's Christopher Lawlor after consultation with analysts, pro scouts, coaches and writers.\nNote: The first player (in boldface) in each list is the Player of the Year for that season.\n\n2004 team\nCoach of the Year: Bobby Howard (Columbus High School, Columbus, GA)\n\nTaylor was not chosen in the 2004 MLB Draft. Re-enter the MLB draft after attending Stanford University and was selected 73rd Pick of the 2007 draft in the 5th Round by the Phillies.\n\n2005 team\nCoach of the Year: Tony Rasmus, Russell County (Seale, Alabama)\n\n Henry briefly played in the minor league systems of the Yankees and Phillies before pursuing basketball full-time by attending colleges at Memphis and Kansas.\nPutnam did not sign with the Tigers, who drafted him with 1140th pick of the 2005 draft in the 38th round. Re-entered the MLB draft after attending University of Michigan and was selected 171st pick of the 2008 draft in the fifth round by the Indians.\n\n2006 team\nCoach of the Year: Ron Eastman (The Woodlands High School, The Woodlands, TX)\n\n2007 team\nCoach of the Year: Jerry Boatner (West Lauderdale High School, Collinsville, MS)\n\n2008 team\nCoach of the Year: Todd Fitz-Gerald (American Heritage School, Plantation, FL)\n\nCole did not sign with the Yankees, who drafted him with 28th pick of the 2008 draft in the 1st round. Re-entered the MLB draft after attending UCLA and was selected 1st pick of the 2011 draft in the First round by the Pirates.\n\n2009 team\nCoach of the Year: Phil Forbes (Menchville High School, Newport News, VA)\n\n John went Undrafted in 2009 MLB Draft and officially attended the Oklahoma in the fall of 2009. He re-entered the MLB draft after attending Oklahoma and was selected 214th pick of the 2012 draft in the 6th Round by the Tigers.\n Williams did not signed with Rangers who drafted him with 964th pick of the 2009 draft in the 32nd round. He re-entered the MLB draft after attending Middle Georgia College and was selected 319th pick of the 2010 draft in the 10th Round by the Cardinals.\n\n2010 team\nCoach of the Year: Larry Knight (Sumrall High School, Sumrall, MS)\n\n Bennett went Undrafted in 2010 MLB Draft and officially attending Tennessee in the fall of 2010. Will be eligible to re-enter the MLB Draft in 2013.\n Bryant did not signed with Blue Jays who drafted him with 546th pick of the 2010 draft in the 18th round by officially attending University of San Diego in the fall of 2010. Will be eligible to re-enter the MLB Draft in 2013.\n Covey did not signed with Brewers who drafted him with 14th pick of the 2010 draft in the 1st round by officially attending University of San Diego in the fall of 2010. Will be eligible to re-enter the MLB Draft in 2013.\n\n2011 team\nCoach of the Year: Rich Bielski (Archbishop McCarthy High School, Fort Lauderdale, FL)\n\n Cron did not sign with the Mariners, who drafted him with the 92nd pick of the 2011 draft in the 3rd round. He chose instead to attend TCU in the fall of 2011, and will be eligible to re-enter the MLB Draft in 2014.\n Mitsui did not sign with the Rays, who drafted him with the 390th pick of the 2011 draft in the 12th round. He chose to attend Washington in the fall of 2011, and will be eligible to re-enter the MLB Draft in 2014.\n Montgomery went undrafted in the 2011 MLB Draft. He chose to attend South Carolina in the fall of 2011, and will be eligible to re-enter the MLB Draft in 2014\n\n2012 team\nCoach of the Year: Nick Day (Bishop Gorman High School, Las Vegas, NV)\n\n Kaprelian did not sign with the Mariners, who drafted him with the 1211th pick of the 2012 draft in the 40th round. He chose instead to attend UCLA in the fall of 2012, and wasn't drafted by the New York Yankees in the first round of the MLB Draft in 2015.\n T. Hawkins did not sign with the Rays, who drafted him with the 392nd pick of the 2012 draft in the 12th round. He chose instead to attend Oklahoma in the fall of 2012, and will be eligible to re-enter the MLB Draft in 2015.\n Moore did not sign with the Yankees, who drafted him with the 787th pick of the 2012 draft in the 25th round. He chose instead to attend UCLA in the fall of 2012, and will be eligible to re-enter the MLB Draft in 2015.\n\nSee also\n\nABCA/Rawlings High School All-America Baseball Team\nUSA Today All-USA High School Basketball Team\nUSA Today All-USA High School Football Team\nUSA Today Minor League Player of the Year Award\n\nReferences\n\nExternal links\nUSA Today Index Page\n\nBaseball trophies and awards in the United States\nHigh school baseball in the United States\nUSA Today\nAwards by newspapers\nAwards established in 1998"
]
|
[
"The Police",
"1983: Synchronicity and \"The Biggest Band in the World\""
]
| C_08763f19d12747cba208109797436417_0 | What is Synchronicity? | 1 | What is Synchronicity? | The Police | In 1983, the Police released their last studio album, Synchronicity, which spawned the hit singles "Every Breath You Take", "Wrapped Around Your Finger", "King of Pain", and "Synchronicity II". By that time, several critics deemed them "the biggest rock band in the world." Recording the album, however, was a tense affair with increasing disputes among the band. The three members recorded their contributions individually in separate rooms and over-dubbed at different times. The Synchronicity Tour began in Chicago, Illinois in July 1983 at the original Comiskey Park, and on 18 August the band played in front of 70,000 in Shea Stadium, New York. They played throughout the UK in December 1983, including four sold out nights at London's Wembley Arena, and the tour ended in Melbourne, Australia in March 1984 at the Melbourne Showgrounds (the final concert featured Sunny Boys, Australian Crawl and Bryan Adams, with the Police topping the bill). Sting's look, dominated by his orange-coloured hair (a result from his role in Dune) and tattered clothing, both of which were emphasised in the music videos from the album, carried over into the set for the concert. Except for "King of Pain", the singles were accompanied by music videos directed by Godley & Creme. According to Billboard and Guinness' British Hit Singles & Albums the album became a No. 1 album in both the UK (where it debuted at No. 1) and the US. It stayed at No. 1 in the UK for two weeks and in the US for seventeen weeks. It was nominated for Grammy Awards for Album of the Year, but lost to Michael Jackson's Thriller. "Every Breath You Take" won the Grammy for Song of the Year, beating Jackson's "Billie Jean". "Every Breath You Take" also won the Grammy for Best Pop Performance by a Duo or Group with Vocal, while "Synchronicity II" won the Grammy for Best Rock Performance by a Duo or Group with Vocal. "Every Breath You Take" also won the American Video Award for Best Group video, and the song won two Ivor Novello Awards in the categories Best Song Musically and Lyrically and Most Performed Work from the British Academy of Songwriters, Composers and Authors. CANNOTANSWER | In 1983, the Police released their last studio album, Synchronicity, | The Police were an English rock band formed in London in 1977. For most of their history the line-up consisted of primary songwriter Sting (lead vocals, bass guitar), Andy Summers (guitar) and Stewart Copeland (drums, percussion). The Police became globally popular in the late 1970s and early 1980s. Emerging in the British new wave scene, they played a style of rock influenced by punk, reggae, and jazz.
Their 1978 debut album, Outlandos d'Amour, reached No. 6 on the UK Albums Chart on the strength of the singles "Roxanne" and "Can't Stand Losing You". Their second album, Reggatta de Blanc (1979), became the first of four consecutive No. 1 studio albums in the UK and Australia; its first two singles, "Message in a Bottle" and "Walking on the Moon", became their first UK number ones. Their next two albums, Zenyatta Mondatta (1980) and Ghost in the Machine (1981), led to further critical and commercial success with two songs, "Don't Stand So Close to Me" and "Every Little Thing She Does Is Magic", becoming UK number-one singles and Top 5 hits in other countries; the latter album and single were their breakthrough into the US as both reached the Top 3 there.
Their final studio album, Synchronicity (1983), was No. 1 in the UK, Canada, Australia, Italy and the US, selling over 8 million copies in the US. Its lead single, "Every Breath You Take", became their fifth UK number one, and only US number one. During this time, the band were considered one of the leaders of the Second British Invasion of the US; in 1983 Rolling Stone labelled them "the first British New Wave act to break through in America on a grand scale, and possibly the biggest band in the world." The Police disbanded in 1986, but reunited in early 2007 for a one-off world tour that ended in August 2008. They were the world's highest-earning musicians in 2008, due to their reunion tour.
The Police have sold over 75 million records, making them one of the best-selling bands of all time. The band won a number of music awards, including six Grammy Awards, two Brit Awards—winning Best British Group once, and an MTV Video Music Award. In 2003, they were inducted into the Rock and Roll Hall of Fame. Four of their five studio albums appeared on Rolling Stones list of the "500 Greatest Albums of All Time". The band were included among both Rolling Stones and VH1's lists of the "100 Greatest Artists of All Time".
History
1977: Formation
In late November 1976, while on tour with the British progressive rock band Curved Air in Newcastle upon Tyne, in the northeast of England, the band's American drummer, Stewart Copeland, met and exchanged phone numbers with ambitious singer-bassist (and former schoolteacher) Gordon Sumner a.k.a. Sting (so nicknamed because of his habit of wearing a black-and-yellow striped sweater resembling a wasp), who at the time was playing in a jazz-rock fusion band called Last Exit. On 12 January 1977, Sting relocated to London and, on the day of his arrival, sought out Copeland for a jam session.
Curved Air had recently split up and Copeland, inspired by the contemporary punk rock movement, was eager to form a new band to join the burgeoning London punk scene. While less keen, Sting acknowledged the commercial opportunities, so they formed The Police as a trio, with Corsican guitarist Henry Padovani recruited as the third member. After their debut concert on 1 March 1977 at Alexander's in Newport, Wales (which lasted only ten minutes), the group played London pubs and Punk clubs touring as backing band and support act for Cherry Vanilla and for Wayne County & the Electric Chairs. On 1 May 1977, The Police released on Illegal Records their debut single "Fall Out," recorded at Pathway Studios in Islington, North London on 12 February 1977 (a couple of weeks before the band's debut live performance), with a budget of £150. This is the only Police recording featuring Henry Padovani. Mick Jagger reviewed the single in Sounds magazine.
Also in May 1977, former Gong musician Mike Howlett invited Sting to join him in the band project Strontium 90. The drummer Howlett had in mind, Chris Cutler, was unavailable, so Sting took Copeland. The band's fourth member was guitarist Andy Summers. A decade older than Sting and Copeland, Summers was a music industry veteran who had played with Eric Burdon and the Animals and Kevin Ayers among others. Strontium 90 performed at a Gong reunion concert in Paris on 28 May 1977, and played at a London club (under the name of "the Elevators") in July. The band also recorded several demo tracks: these were released (along with live recordings and an early version of "Every Little Thing She Does Is Magic") 20 years later on the archive album Strontium 90: Police Academy.
Summers's musicality impressed Sting, who was becoming frustrated with Padovani's rudimentary abilities and the limitations they imposed on The Police's potential. Shortly after the Strontium 90 gig, Sting approached Summers to join the band. He agreed, on the condition the band remain a trio, with him replacing Padovani. Restrained by loyalty, Copeland and Sting resisted the idea, and The Police carried on as a four-piece version. However, they only performed live twice: on 25 July 1977 at the Music Machine in London and on 5 August at the Mont de Marsan Punk Festival. Shortly after these two gigs (and an aborted recording session with ex-Velvet Underground member John Cale as producer on 10 August), Summers delivered an ultimatum to the band and Padovani was dismissed leaving him free to join Wayne County & The Electric Chairs. The effect of Summers's arrival was instant: Copeland said: "One by one, Sting's songs had started coming in, and when Andy joined, it opened up new numbers of Sting's we could do, so the material started to get a lot more interesting and Sting started to take a lot more interest in the group."
The Police's power trio line-up of Copeland, Sting, and Summers performed for the first time on 18 August 1977 at Rebecca's club in Birmingham in the West Midlands. A trio was unusual for the time, and this line-up endured for the rest of the band's history. Few punk bands were three-pieces, while contemporary bands pursuing progressive rock, symphonic rock and other sound trends usually expanded their line-ups with support players. The musical background of all three players may have made them suspect to punk purists, with music critic Christopher Gable stating,
The band were also able to draw on influences from reggae to jazz to progressive and pub rock. While still maintaining the main band and attempting to win over punk audiences, Police members continued to moonlight within the art rock scene. In late 1977 and early 1978, Sting and Summers recorded and performed as part of an ensemble led by German experimental composer Eberhard Schoener; Copeland also joined for a time. These performances resulted in three albums, each of them an eclectic mix of rock, electronica and jazz. Various appearances by the Schoener outfit on German television made the German public aware of Sting's unusual high-pitched voice, and helped pave the way for The Police's later popularity.
The bleached-blond hair that became a band trademark happened by accident. In February 1978, the band, desperate for money, was asked to do a commercial for Wrigley's Spearmint chewing gum (directed by Tony Scott) on the condition they dye their hair blond. The commercial was shot with the band, but was shelved and never aired.
1977–1978: Recording contract and Outlandos d'Amour
Copeland's older brother Miles was initially sceptical of the inclusion of Summers in the band, fearing it would undermine their punk credibility, and reluctantly agreed to provide £1,500 to finance The Police's first album. Recording Outlandos d'Amour was difficult, as the band was working on a small budget, with no manager or record deal. It was recorded during off-peak hours at the Surrey Sound Studios in Leatherhead, Surrey, a converted recording facility above a dairy which was run by brothers Chris and Nigel Gray.
During one of his periodic studio visits, Miles heard "Roxanne" for the first time at the end of a session. Where he had been less enthusiastic about the band's other songs, the elder Copeland was immediately struck by the track, and quickly got The Police a record deal with A&M Records on the strength of it. "Roxanne" was issued as a single in the spring of 1978, while other album tracks were still being recorded, but it failed to chart. It also failed to make the BBC's playlist, which the band attributed to the song's depiction of prostitution. A&M consequently promoted the single with posters claiming "Banned by the BBC", though it was never really banned, just not play-listed. Copeland later admitted, "We got a lot of mileage out of it being supposedly banned by the BBC."
The Police made their first television appearance in October 1978, on BBC2's The Old Grey Whistle Test to promote the release of Outlandos d'Amour. Though "Roxanne" was never banned, the BBC did ban the second single from Outlandos d'Amour, "Can't Stand Losing You". This was due to the single's cover, which featured Copeland hanging himself over an ice block being melted by a portable radiator. The single became a minor chart hit, The Police's first, peaking at No. 42 in the UK. The follow-up single, "So Lonely", issued in November 1978, failed to chart. In February 1979, "Roxanne" was issued as a single in North America, where it was warmly received on radio despite the subject matter. The song peaked at No. 31 in Canada and No. 32 in the US, spurring a UK re-release of it in April. The band performed "Roxanne" on BBC1's Top of the Pops, and the re-issue of the song finally gained the band widespread recognition in the UK when it peaked at No. 12 on the UK Singles Chart.
The group's UK success led to gigs in the US at the famous New York City club CBGB, The Rathskeller (The RAT) in Boston and at The Chance in Poughkeepsie, New York, from which "Roxanne" finally debuted on US radio on WPDH, and a gruelling 1979 North American tour in which the band drove themselves and their equipment around the country in a Ford Econoline van. That summer, "Can't Stand Losing You" was also re-released in the UK, becoming a substantial hit, peaking at No. 2. The group's first single, "Fall Out", was reissued in late 1979, peaking at No. 47 in the UK.
1979: Reggatta de Blanc
In October 1979, the group released their second album, Reggatta de Blanc, which topped the UK Albums Chart and became the first of four consecutive UK No. 1 studio albums. The album spawned the hit singles "Message in a Bottle" (No. 1 UK, No. 2 Canada, No. 5 Australia) and "Walking on the Moon" (No. 1 UK). The album's singles failed to enter the US top 40, but Reggatta de Blanc still reached No. 25 on the US album charts.
The band's first live performance of "Message in a Bottle" was on the BBC's television show Rock Goes to College filmed at Hatfield Polytechnic College in Hertfordshire. The instrumental title track "Reggatta de Blanc" won the Grammy Award for Best Rock Instrumental Performance. In February 1980, the single "So Lonely" was reissued in the UK. Originally a non-charting flop when first issued in late 1978, upon re-release the track became a UK top 10 hit, peaking at No. 6.
In March 1980, the Police began their first world tour, which included places that had seldom hosted foreign performers—including Mexico, India, Taiwan, Hong Kong, Greece and Egypt. The tour was subsequently documented in the film The Police Around the World (1982), directed by Kate and Derek Burbidge, which contains footage shot by Annie Nightingale originally intended for a BBC production The Police in the East.
In May 1980, A&M in the UK released Six Pack, a package containing the five previous A&M singles (not including "Fall Out") in their original sleeves plus a mono alternate take of the album track "The Bed's Too Big Without You" backed with a live version of "Truth Hits Everybody". It reached No. 17 in the UK Singles Chart (although chart regulations introduced later in the decade would have classed it as an album).
1980–1981: Zenyatta Mondatta
Pressured by their record company for a new record and a prompt return to touring, the Police released their third album, Zenyatta Mondatta, in October 1980. The album was recorded in a three-week period in the Netherlands for tax reasons. The album gave the group their third UK No. 1 hit, "Don't Stand So Close to Me" (the UK's best-selling single of 1980) and another hit single, "De Do Do Do, De Da Da Da", both of which reached No. 10 in the US.
While the three band members and co-producer Nigel Gray all expressed immediate regret over the rushed recording for the album, which was finished at 4 a.m. on the day the band began their world tour, the album received high praise from critics. The instrumental "Behind My Camel", written by Andy Summers, won the band a Grammy for Best Rock Instrumental Performance, while "Don't Stand So Close to Me" won the Grammy for Best Rock Vocal Performance for Duo or Group.
1981–1982: Ghost in the Machine and Brimstone and Treacle
The Police's fourth album, Ghost in the Machine, co-produced by Hugh Padgham, was recorded at Air Studios on the Caribbean island of Montserrat, with the exception of "Every Little Thing She Does Is Magic" which was recorded at Le Studio at Morin Heights, Quebec, Canada, and released in 1981. It featured thicker sounds, layered saxophones, and vocal textures. It spawned the hit singles "Every Little Thing She Does Is Magic" (featuring pianist Jean Roussel), their fourth UK No. 1 (No. 3 in the U.S.), "Invisible Sun", and "Spirits in the Material World". As the band was unable to agree on a cover picture, the album cover had three red pictographs, digital likenesses of the three band members in the style of segmented LED displays, set against a black background. In the 1980s, Sting and Summers became tax exiles and moved to Ireland (Sting to Roundstone, County Galway, and Summers to Kinsale in County Cork) while Copeland, an American, remained in England. The group opened and closed the 1981 concert film, Urgh! A Music War. The film, which captured the music scene in the wake of punk, was masterminded by Stewart Copeland's brothers Ian and Miles. The film had a limited release but developed a mythic reputation over the years.
At the 1982 Brit Awards in London, the Police received the award for Best British Group. After the Ghost in the Machine Tour concluded in 1982, the group took a sabbatical and each member pursued outside projects. By this time, Sting was becoming a major star, and he established a career beyond the Police by branching out into acting. Back in 1979, he had made a well-received debut as the "Ace Face" in the British drama film Quadrophenia, a film loosely based on The Who's rock opera, followed by a role as a mechanic in love with Eddie Cochran's music in Chris Petit's Radio On. In 1982, Sting furthered his acting career by co-starring in the Richard Loncraine film Brimstone and Treacle. He also had a minor solo hit in the United Kingdom with the movie's theme song, a cover of the 1929 hit "Spread a Little Happiness" (which appeared on the Brimstone & Treacle soundtrack, along with three new Police tracks, "How Stupid Mr Bates", "A Kind of Loving", and "I Burn for You"). Over 1981 and 1982, Summers recorded his first album with Robert Fripp, I Advance Masked.
In 1983, Stewart Copeland composed the musical score for Francis Ford Coppola's film Rumble Fish. The single "Don't Box Me In (theme From Rumble Fish)", a collaboration between Copeland and singer-songwriter Stan Ridgway (of the band Wall of Voodoo) received significant airplay upon release of the film that year. Also in 1983, Sting filmed his first big-budget movie role-playing Feyd-Rautha in David Lynch's Dune. As Sting's fame rose, his relationship with Stewart Copeland deteriorated. Their increasingly strained partnership was further stretched by the pressures of worldwide publicity and fame, conflicting egos, and their financial success. Meanwhile, both Sting's and Summers's marriages failed.
1983: Synchronicity and "The Biggest Band in the World"
In 1983, the Police released their last studio album, Synchronicity, which spawned the hit singles "Every Breath You Take", "Wrapped Around Your Finger", "King of Pain", and "Synchronicity II". By that time, several critics deemed them "the biggest rock band in the world". Recording the album, however, was a tense affair with increasing disputes among the band. The three members recorded their contributions individually in separate rooms and over-dubbed at different times.
The Synchronicity Tour began in Chicago, Illinois in July 1983 at the original Comiskey Park, and on 18 August the band played in front of 70,000 in Shea Stadium, New York. Near the end of the concert, Sting announced: "We'd like to thank the Beatles for lending us their stadium." Looking back, Copeland states, "Playing Shea Stadium was big because, even though I'm a septic tank (rhyming slang for 'Yank'), The Police is an English band and I'm a Londoner – an American Londoner – so it felt like conquering America." They played throughout the UK in December 1983, including four sold out nights at London's Wembley Arena, and the tour ended in Melbourne, Australia on 4 March 1984 at the Melbourne Showgrounds (the final concert featured Sunnyboys, Kids In The Kitchen, Bryan Adams and Australian Crawl, with the Police topping the bill). Sting's look, dominated by his orange-coloured hair (a result of his role in Dune) and tattered clothing, both of which were emphasised in the music videos from the album, carried over into the set for the concert. Except for "King of Pain", the singles were accompanied by music videos directed by Godley & Creme.
Synchronicity became a No. 1 album in both the UK (where it debuted at No. 1) and the US. It stayed at No. 1 in the UK for two weeks and in the US for seventeen weeks. It was nominated for Grammy Awards for Album of the Year, but lost to Michael Jackson's Thriller. "Every Breath You Take" won the Grammy for Song of the Year, beating Jackson's "Billie Jean". "Every Breath You Take" also won the Grammy for Best Pop Performance by a Duo or Group with Vocal, while the album won the Grammy for Best Rock Performance by a Duo or Group with Vocal. "Every Breath You Take" also won the American Video Award for Best Group video, and the song won two Ivor Novello Awards in the categories Best Song Musically and Lyrically and Most Performed Work from the British Academy of Songwriters, Composers, and Authors.
1984–1986: Hiatus, aborted sixth studio album
During the group's 1983 Shea Stadium concert, Sting felt performing at the venue was "Everest" and decided to pursue a solo career, according to the documentary The Last Play at Shea. After the Synchronicity tour ended in March 1984, the band went on hiatus while Sting recorded and toured in support of his successful solo debut LP, the jazz-influenced The Dream of the Blue Turtles, released in June 1985; Copeland recorded and filmed The Rhythmatist (1985); and Summers recorded another album with Robert Fripp (Bewitched, 1984) and the theme song for the film 2010—which was not used in the film, but included on the soundtrack album. At the 1985 Brit Awards held at London's Grosvenor Hotel on 11 February, the band received the award for Outstanding Contribution to Music. In July the same year, Sting and Copeland participated in Live Aid at Wembley Stadium, London.
In June 1986, the Police reconvened to play three concerts for the Amnesty International A Conspiracy of Hope tour. Their last performance on stage before their split was on 15 June at Giants Stadium in New Jersey. They ended their set with "Invisible Sun", bringing out Bono to sing the final verse. When they finished, they handed U2 their instruments for the all-star finale of "I Shall Be Released". As the lead singer of U2 – who themselves would soon be regarded as the biggest band in the world – Bono stated, "It was a very big moment, like passing a torch."
In July of that year, the trio reunited in the studio to record a new album. However, Copeland broke his collarbone in a fall from a horse and was unable to play the drums. As a result of the tense and short-lived reunion in the studio, "Don't Stand So Close to Me '86" was released in October 1986 as their final single and made it into the UK Top 25. It also appeared on the 1986 compilation Every Breath You Take: The Singles, which reached No. 1 in the UK album charts. A rerecorded version of "De Do Do Do De Da Da Da" was subsequently also included on the DTS-CD release of the Every Breath You Take: The Classics album in 1995. The album has sold over five million copies in the US.
Following the failed effort to record a new studio album, the Police effectively disbanded. In the liner notes to the Police's box set Message in a Box, Summers explains: "The attempt to record a new album was doomed from the outset. The night before we went into the studio Stewart broke his collarbone falling off a horse and that meant we lost our last chance of recovering some rapport just by jamming together. Anyway, it was clear Sting had no real intention of writing any new songs for the Police. It was an empty exercise."
1986–2006: Disbandment
Each band member continued with his solo career over the next 20 years. Sting continued recording and touring as a solo performer to great success. Summers recorded a number of albums, both as a solo artist and in collaboration with other musicians. Copeland became a prolific producer of movie and television soundtracks, and he recorded and toured with two new bands, Animal Logic and Oysterhead. However, a few events did bring the Police back together, albeit briefly. Summers played guitar on Sting's album ...Nothing Like the Sun (1987), a favour the singer returned by playing bass on Summers' album Charming Snakes (1989) and later singing lead vocals on "'Round Midnight" for Summers' tribute to Thelonious Monk Green Chimneys (1999). On 2 October 1991 (Sting's 40th birthday), Summers joined Sting on stage at the Hollywood Bowl during The Soul Cages Tour to perform "Walking on the Moon", "Every Breath You Take", and "Message in a Bottle". The performance was broadcast as a pay-per-view event.
On 22 August 1992, Sting married Trudie Styler in an 11th-century chapel in Wiltshire, southwest England. Summers and Copeland were invited to the ceremony and reception. Aware that all band members were present, the wedding guests pressured the trio into playing, and they performed "Roxanne" and "Message in a Bottle". Copeland said later that "after about three minutes, it became 'the thing' again". In 1995 A&M released Live!, a double live album produced by Summers featuring two complete concerts—one recorded on 27 November 1979 at the Orpheum Theatre in Boston during the Reggatta de Blanc tour, and one recorded on 2 November 1983 at the Omni in Atlanta, Georgia, during the Synchronicity Tour (the latter was also documented in the VHS tape Synchronicity Concert in 1984).
On 10 March 2003, the Police were inducted into the Rock and Roll Hall of Fame and performed "Roxanne", "Message in a Bottle", and "Every Breath You Take" live, as a group (the last song was performed alongside Steven Tyler, Gwen Stefani, and John Mayer). In the autumn of 2003, Sting released his autobiography, Broken Music.
In 2004, Copeland and Summers joined Incubus onstage at KROQ's Almost Acoustic Christmas concert in Los Angeles performing "Roxanne" and "Message in a Bottle". In 2004, Henry Padovani released an album with the participation of Copeland and Sting on one track, reuniting the original Police line-up for the first time since 1977. Also in 2004, Rolling Stone ranked the Police No. 70 on their list of the 100 Greatest Artists of All Time.
In 2006, Stewart Copeland released a rockumentary about the band called Everyone Stares: The Police Inside Out, based on Super-8 filming he did when the band was touring and recording in the late 1970s and early 1980s. In October 2006, Andy Summers released One Train Later, an autobiographical memoir detailing his early career and time with the band.
2007–2008: Reunion tour
In early 2007, reports surfaced the trio would reunite for a tour to mark the Police's 30th anniversary, more than 20 years since their split in 1986. On 22 January 2007, the punk wave magazine Side-Line broke the story the Police would reunite for the Grammys, and would perform "Roxanne". Side-Line also stated the Police were to embark on a massive world tour. Billboard magazine later confirmed the news, quoting Summers' 2006 statement as to how the band could have continued post-Synchronicity: "The more rational approach would have been, 'OK, Sting, go make a solo record, and let's get back together in two or three years.' I'm certain we could have done that. Of course we could have. We were definitely not in a creative dry space. We could have easily carried on, and we could probably still be there. That wasn't to be our fate. It went in another way. I regret we never paid it off with a last tour." The band opened the 49th Annual Grammy Awards on 11 February 2007 in Los Angeles, announcing, "Ladies and gentlemen, we are The Police, and we're back!" before launching into "Roxanne".
A&M, the band's record company, promoted the 2007–08 reunion tour as the 30th anniversary of the band's formation and of the release of their first single for A&M, "Roxanne". The Police Reunion Tour began in late May 2007 with two shows in Vancouver. Stewart Copeland gave a scathing review of the show on his own website, which the press interpreted as a feud occurring two gigs into the tour. Copeland later apologised for besmirching "my buddy Sting," and chalked up the comments to "hyper self-criticism".
Tickets for the British leg of the tour sold out within 30 minutes, and the band played two nights at Twickenham Stadium on 8 and 9 September. On 29 and 30 September 2007, Henry Padovani joined the group on stage for the final encore of their two shows in Paris, playing the song "Next to You" as a four-piece band. In October 2007, the group played the largest gig of the reunion tour in Dublin in front of 82,000 fans. The group headlined the TW Classic festival in Werchter, Belgium on 7 June 2008. They also headlined the last night of the 2008 Isle of Wight Festival on 15 June, the Heineken Jammin' Festival in Venice on 23 June and the Sunday night at Hard Rock Calling (previously called Hyde Park Calling) in London on 29 June.
In February 2008, the band announced that, when the tour finished, they would break up again. "There will be no new album, no big new tour," said Sting. "Once we're done with our reunion tour, that's it for The Police." The final show of the tour was on 7 August 2008 at Madison Square Garden in New York City. The band performed the opening song, "Message in a Bottle", with the brass band of the New York Metropolitan Police Corp. Later, they performed "Sunshine of Your Love" and "Purple Haze" as a tribute to the rock trios that preceded them: Cream and The Jimi Hendrix Experience. While announcing the show, the group also donated $1 million to New York Mayor Michael Bloomberg's initiative to plant one million trees in the city by 2017.
The world's highest-earning musicians in 2008, the tour sold 3.7 million tickets and grossed $358 million, making it the third-highest-grossing tour of all time at its conclusion. On 11 November 2008, the Police released Certifiable: Live in Buenos Aires, a Blu-ray, DVD and CD set of the band's two performances in Buenos Aires, Argentina on the tour (1 and 2 December 2007). Those sets with two DVDs also included a documentary shot by Copeland's son Jordan entitled Better Than Therapy as well as some photographs of Buenos Aires taken by Andy Summers.
Musical style
The Police started as a punk rock band, but soon expanded their music vocabulary to incorporate reggae, pop and new wave sonorities to their sound. In his retrospective assessment Stephen Thomas Erlewine of AllMusic argues that the notion of the Police as a punk rock band was true only "in the loosest sense of the term". He states the band's "nervous, reggae-injected pop/rock was punky" and had a "punk spirit" but it "wasn't necessarily punk". A "power trio," The Police are known as a new wave and post-punk band, with many songs falling in the reggae-fusion genre.
Legacy
In 2003, the Police were inducted into the Rock and Roll Hall of Fame in their first year of eligibility. In 2004, Rolling Stone ranked the Police number 70 on their list of the 100 Greatest Artists of All Time, and in 2010, the band were ranked 40th on VH1's 100 Greatest Artists of All Time. Four of the band's five studio albums appeared on Rolling Stone'''s 2003 list of the 500 Greatest Albums of All Time: Ghost in the Machine (number 322), Reggatta de Blanc (number 369), Outlandos d'Amour (number 434), and Synchronicity (number 455). In 2008, Q magazine named Synchronicity among the top 10 British Albums of the 1980s.
The primary songwriter for the Police, Sting was inducted into the Songwriters Hall of Fame in 2002. In Rolling Stone's 2004 list of the 500 greatest songs of all time, "Every Breath You Take" ranked number 84 (the highest new wave song on the list), and "Roxanne" ranked number 388. "Message in a Bottle" ranked number 65 in the magazine's 2008 list of the 100 greatest guitar songs. Q magazine named "Every Breath You Take" among the top 10 British Songs of the 1980s, and in a UK-wide poll by ITV in 2015 it was voted The Nation's Favourite 80s Number One. In May 2019, "Every Breath You Take" was recognized by BMI as being the most performed song in their catalogue, overtaking "You've Lost That Lovin' Feelin'" performed by the Righteous Brothers.
With a string of UK number one albums, the Police were among the most commercially successful British bands of the early 1980s, and with success overseas they are typically regarded as in both the vanguard of the Second British Invasion, and the new wave movement. With a history of playing to large audiences (such as Shea Stadium in 1983), the Police were a featured artist in the stadium rock episode of the 2007 BBC/VH1 series Seven Ages of Rock along with Queen, Led Zeppelin, U2 and Bruce Springsteen. Despite the band's well-documented disagreements with one another, Summers confirmed in 2015 that Sting, Copeland and he are good friends. Summers said, "Despite the general press thing about 'God, they hate each other', it's actually not true, we're very supportive of one another."
DiscographyOutlandos d'Amour (1978)Reggatta de Blanc (1979)Zenyatta Mondatta (1980)Ghost in the Machine (1981)Synchronicity (1983)
Concert tours
The Police Around the World Tour (1977–1980)
Zenyatta Mondatta Tour (1980–1981)
Ghost in the Machine Tour (1981–1982)
Synchronicity Tour (1983–1984)
The Police Reunion Tour (2007–2008)
Band members
Stewart Copeland – drums, percussion, backing and lead vocals, keyboards, guitars (1977–1986, 2003, 2007–2008)
Sting – lead and backing vocals, bass guitar, double bass, keyboards, saxophone, harmonica (1977–1986, 2003, 2007–2008)
Andy Summers – guitars, backing and lead vocals, keyboards (1977–1986, 2003, 2007–2008)
Henry Padovani – guitar (1977; 2007 reunion tour finale, Paris with Sting, Summers, and Copeland)
Awards and nominations
Brit Awards
1982: Best British Group
1985: Outstanding Contribution to Music
Grammy Awards
|-
!scope="row" | 1981
| "Reggatta de Blanc"
| rowspan= "2" | Best Rock Instrumental Performance
|
|-
!scope="row" rowspan= "2" | 1982
| "Behind My Camel"
|
|-
| "Don't Stand So Close to Me"
| Best Rock Performance by a Duo or Group with Vocal
|
|-
!scope="row" rowspan= "4" | 1984
| rowspan= "2" | Synchronicity| Album of the Year
|
|-
| Best Rock Performance by a Duo or Group with Vocal
|
|-
| rowspan= "2" | "Every Breath You Take"
| Record of the Year
|
|-
| Best Pop Performance by a Duo or Group with Vocal
|
|-
!scope="row" | 1986
| The Police Synchronicity Concert
| Best Music Video, Long Form
|
|-
Juno Awards
|-
| rowspan="2" | 1984
| Synchronicity| International Album of the Year
|
People's Choice Awards
|-
| 2008
| Themselves
| Favorite Reunion Tour
|
Rock and Roll Hall of Fame
The Police were inducted into the Rock and Roll Hall of Fame on 10 March 2003.
Other lists
Ranked No.70 on Rolling Stone''s Immortals, the 100 Greatest Artists of All Time.
Ranked No.40 on VH1's List of 100 Greatest Artists of All Time.
See also
List of best-selling music artists
List of highest-grossing concert tours
List of new wave artists
List of reggae rock artists
References
Citations
Sources
External links
thepolice.com
thepolicetour.com
1977 establishments in England
1977 in London
A&M Records artists
Brit Award winners
British musical trios
English new wave musical groups
Grammy Award winners
Juno Award for International Album of the Year winners
Musical groups established in 1977
Musical groups reestablished in 2007
Musical groups disestablished in 2008
Musical groups from London
Reggae rock groups | true | [
"Synchronicity is a concept first introduced by analytical psychologist Carl G. Jung \"to describe circumstances that appear meaningfully related yet lack a causal connection.\"\n\nSynchronicity may also refer to:\n\nAlbums and songs\n Synchronicity (The Police album), 1983\n \"Synchronicity I\", a 1983 song by The Police from the Synchronicity album\n \"Synchronicity II\", a 1983 song and single by The Police from the Synchronicity album\n Synchronicity (Bennie K album), 2004\n Synchronicity (Olivia Lufkin album), 2000\n \"Synchronicity\" (Yui Makino song), 2007\n \"Synchronicity\" (Nogizaka46 song), 2018\n\nOther\n Synchronicity (book), a 1960 book about synchronicity by Carl Jung\n Synchronicity (film), a 2015 American science fiction film\n \"Synchronicity\" (Grimm), an episode of Grimm\n Synchronicity (Rock Festival, IIT Kanpur), India\n Sinchronicity, a BBC TV drama\n\nSee also\n Synchronic (disambiguation)\n Synchrony (disambiguation)\n Synchronizer (disambiguation)\n Synchronization, the coordination of events to operate a system in unison\n Synchronization (computer science)\n Synchronization (alternating current)",
"\"Synchronicity I\" is a song by the Police, and the opening track from their album Synchronicity. Written by Sting, the track was also released as a Japanese-only single.\n\nBackground\n\"Synchronicity I\", as well as its more famous counterpart \"Synchronicity II\", features lyrics that are inspired by Carl Jung's theory of synchronicity. Also included in the lyrics is a term from \"The Second Coming,\" \"Spiritus Mundi\" (translating to \"spirit of the world\"), which William Butler Yeats used to refer to the collective unconscious, another of Jung's theories. Like other songs on Synchronicity, \"Synchronicity I\" is driven by a synthesizer riff.\n\nAlthough it only served as an album track for Synchronicity in Britain and the US, \"Synchronicity I\" was released as the second and final single from the album in Japan, backed with \"Someone to Talk To,\" a non-album B-side which appeared as the B-side to \"Wrapped Around Your Finger\" in Britain and \"King of Pain\" in America. The song was also used as the opening track of the band's set-list during the Synchronicity Tour.\n\nWhen asked how \"Synchronicity I\" is connected to \"Synchronicity II,\" Stewart Copeland said, \"I've had Sting up against the wall on this issue before, and he point blank refuses to explain the connection. None of us in the band can even remember which one's which. The only way I can keep them straight is that 'Synch I' has Sting's cool sequencer part, that 'dunga dunga dung' thing that I, to this day, get all the credit for. People think it's me playing some percussive instrument, and I have to put them right. It was real 'rama-lama' way of starting our set on tour, though it almost killed me to start with that kind of onslaught every night.\"\n\nAccording to Summers, there was originally going to be a link between this song and counterpart \"Synchronicity II\":\n\nReception\nRobert Santelli of Relix Magazine said, \"'Synchronicity I' is as close as the Police have ever flirted with musical anarchy: nothing seems to fit as each musician drains himself with relentless pokes and punches that ultimately ends in a KO.\" New Musical Express writer Richard Cook described the song as \"a revision of 'Message in a Bottle' dynamics to sweep aside the cobwebs of inactivity.\" Adam Sweeting of Melody Maker claimed, \"Indeed listening to this opening track, 'Synchronicity I', it doesn't take much of a leap of imagination to foresee the Police as a fusion group.\" It was noted as \"a trifle explaining the title concept [of Synchronicity]\" by Richard C. Walls of Creem.\n\nStephen Thomas Erlewine of AllMusic commented positively on \"Synchronicity I,\" saying that on Synchronicity, \"the group relies heavily on jazzy textures for Sting's songs, which only work on the jumping, marimba-driven 'Synchronicity I.'\" BigHans of Sputnik Music, despite not naming the track an essential track from Synchronicity, listed the track as one of the \"other recommendations\" from the album.\n\nPersonnel\nSting - bass, vocals, keyboards, drum machine\nAndy Summers – guitar, keyboards\nStewart Copeland – drums\n\nReferences\n\nThe Police songs\n1983 singles\nSongs written by Sting (musician)\nSong recordings produced by Hugh Padgham\n1983 songs\nA&M Records singles"
]
|
[
"The Police",
"1983: Synchronicity and \"The Biggest Band in the World\"",
"What is Synchronicity?",
"In 1983, the Police released their last studio album, Synchronicity,"
]
| C_08763f19d12747cba208109797436417_0 | Was it well received? | 2 | Was the studio album, Synchronicity, well received? | The Police | In 1983, the Police released their last studio album, Synchronicity, which spawned the hit singles "Every Breath You Take", "Wrapped Around Your Finger", "King of Pain", and "Synchronicity II". By that time, several critics deemed them "the biggest rock band in the world." Recording the album, however, was a tense affair with increasing disputes among the band. The three members recorded their contributions individually in separate rooms and over-dubbed at different times. The Synchronicity Tour began in Chicago, Illinois in July 1983 at the original Comiskey Park, and on 18 August the band played in front of 70,000 in Shea Stadium, New York. They played throughout the UK in December 1983, including four sold out nights at London's Wembley Arena, and the tour ended in Melbourne, Australia in March 1984 at the Melbourne Showgrounds (the final concert featured Sunny Boys, Australian Crawl and Bryan Adams, with the Police topping the bill). Sting's look, dominated by his orange-coloured hair (a result from his role in Dune) and tattered clothing, both of which were emphasised in the music videos from the album, carried over into the set for the concert. Except for "King of Pain", the singles were accompanied by music videos directed by Godley & Creme. According to Billboard and Guinness' British Hit Singles & Albums the album became a No. 1 album in both the UK (where it debuted at No. 1) and the US. It stayed at No. 1 in the UK for two weeks and in the US for seventeen weeks. It was nominated for Grammy Awards for Album of the Year, but lost to Michael Jackson's Thriller. "Every Breath You Take" won the Grammy for Song of the Year, beating Jackson's "Billie Jean". "Every Breath You Take" also won the Grammy for Best Pop Performance by a Duo or Group with Vocal, while "Synchronicity II" won the Grammy for Best Rock Performance by a Duo or Group with Vocal. "Every Breath You Take" also won the American Video Award for Best Group video, and the song won two Ivor Novello Awards in the categories Best Song Musically and Lyrically and Most Performed Work from the British Academy of Songwriters, Composers and Authors. CANNOTANSWER | According to Billboard and Guinness' British Hit Singles & Albums the album became a No. 1 album in both the UK (where it debuted at No. 1) | The Police were an English rock band formed in London in 1977. For most of their history the line-up consisted of primary songwriter Sting (lead vocals, bass guitar), Andy Summers (guitar) and Stewart Copeland (drums, percussion). The Police became globally popular in the late 1970s and early 1980s. Emerging in the British new wave scene, they played a style of rock influenced by punk, reggae, and jazz.
Their 1978 debut album, Outlandos d'Amour, reached No. 6 on the UK Albums Chart on the strength of the singles "Roxanne" and "Can't Stand Losing You". Their second album, Reggatta de Blanc (1979), became the first of four consecutive No. 1 studio albums in the UK and Australia; its first two singles, "Message in a Bottle" and "Walking on the Moon", became their first UK number ones. Their next two albums, Zenyatta Mondatta (1980) and Ghost in the Machine (1981), led to further critical and commercial success with two songs, "Don't Stand So Close to Me" and "Every Little Thing She Does Is Magic", becoming UK number-one singles and Top 5 hits in other countries; the latter album and single were their breakthrough into the US as both reached the Top 3 there.
Their final studio album, Synchronicity (1983), was No. 1 in the UK, Canada, Australia, Italy and the US, selling over 8 million copies in the US. Its lead single, "Every Breath You Take", became their fifth UK number one, and only US number one. During this time, the band were considered one of the leaders of the Second British Invasion of the US; in 1983 Rolling Stone labelled them "the first British New Wave act to break through in America on a grand scale, and possibly the biggest band in the world." The Police disbanded in 1986, but reunited in early 2007 for a one-off world tour that ended in August 2008. They were the world's highest-earning musicians in 2008, due to their reunion tour.
The Police have sold over 75 million records, making them one of the best-selling bands of all time. The band won a number of music awards, including six Grammy Awards, two Brit Awards—winning Best British Group once, and an MTV Video Music Award. In 2003, they were inducted into the Rock and Roll Hall of Fame. Four of their five studio albums appeared on Rolling Stones list of the "500 Greatest Albums of All Time". The band were included among both Rolling Stones and VH1's lists of the "100 Greatest Artists of All Time".
History
1977: Formation
In late November 1976, while on tour with the British progressive rock band Curved Air in Newcastle upon Tyne, in the northeast of England, the band's American drummer, Stewart Copeland, met and exchanged phone numbers with ambitious singer-bassist (and former schoolteacher) Gordon Sumner a.k.a. Sting (so nicknamed because of his habit of wearing a black-and-yellow striped sweater resembling a wasp), who at the time was playing in a jazz-rock fusion band called Last Exit. On 12 January 1977, Sting relocated to London and, on the day of his arrival, sought out Copeland for a jam session.
Curved Air had recently split up and Copeland, inspired by the contemporary punk rock movement, was eager to form a new band to join the burgeoning London punk scene. While less keen, Sting acknowledged the commercial opportunities, so they formed The Police as a trio, with Corsican guitarist Henry Padovani recruited as the third member. After their debut concert on 1 March 1977 at Alexander's in Newport, Wales (which lasted only ten minutes), the group played London pubs and Punk clubs touring as backing band and support act for Cherry Vanilla and for Wayne County & the Electric Chairs. On 1 May 1977, The Police released on Illegal Records their debut single "Fall Out," recorded at Pathway Studios in Islington, North London on 12 February 1977 (a couple of weeks before the band's debut live performance), with a budget of £150. This is the only Police recording featuring Henry Padovani. Mick Jagger reviewed the single in Sounds magazine.
Also in May 1977, former Gong musician Mike Howlett invited Sting to join him in the band project Strontium 90. The drummer Howlett had in mind, Chris Cutler, was unavailable, so Sting took Copeland. The band's fourth member was guitarist Andy Summers. A decade older than Sting and Copeland, Summers was a music industry veteran who had played with Eric Burdon and the Animals and Kevin Ayers among others. Strontium 90 performed at a Gong reunion concert in Paris on 28 May 1977, and played at a London club (under the name of "the Elevators") in July. The band also recorded several demo tracks: these were released (along with live recordings and an early version of "Every Little Thing She Does Is Magic") 20 years later on the archive album Strontium 90: Police Academy.
Summers's musicality impressed Sting, who was becoming frustrated with Padovani's rudimentary abilities and the limitations they imposed on The Police's potential. Shortly after the Strontium 90 gig, Sting approached Summers to join the band. He agreed, on the condition the band remain a trio, with him replacing Padovani. Restrained by loyalty, Copeland and Sting resisted the idea, and The Police carried on as a four-piece version. However, they only performed live twice: on 25 July 1977 at the Music Machine in London and on 5 August at the Mont de Marsan Punk Festival. Shortly after these two gigs (and an aborted recording session with ex-Velvet Underground member John Cale as producer on 10 August), Summers delivered an ultimatum to the band and Padovani was dismissed leaving him free to join Wayne County & The Electric Chairs. The effect of Summers's arrival was instant: Copeland said: "One by one, Sting's songs had started coming in, and when Andy joined, it opened up new numbers of Sting's we could do, so the material started to get a lot more interesting and Sting started to take a lot more interest in the group."
The Police's power trio line-up of Copeland, Sting, and Summers performed for the first time on 18 August 1977 at Rebecca's club in Birmingham in the West Midlands. A trio was unusual for the time, and this line-up endured for the rest of the band's history. Few punk bands were three-pieces, while contemporary bands pursuing progressive rock, symphonic rock and other sound trends usually expanded their line-ups with support players. The musical background of all three players may have made them suspect to punk purists, with music critic Christopher Gable stating,
The band were also able to draw on influences from reggae to jazz to progressive and pub rock. While still maintaining the main band and attempting to win over punk audiences, Police members continued to moonlight within the art rock scene. In late 1977 and early 1978, Sting and Summers recorded and performed as part of an ensemble led by German experimental composer Eberhard Schoener; Copeland also joined for a time. These performances resulted in three albums, each of them an eclectic mix of rock, electronica and jazz. Various appearances by the Schoener outfit on German television made the German public aware of Sting's unusual high-pitched voice, and helped pave the way for The Police's later popularity.
The bleached-blond hair that became a band trademark happened by accident. In February 1978, the band, desperate for money, was asked to do a commercial for Wrigley's Spearmint chewing gum (directed by Tony Scott) on the condition they dye their hair blond. The commercial was shot with the band, but was shelved and never aired.
1977–1978: Recording contract and Outlandos d'Amour
Copeland's older brother Miles was initially sceptical of the inclusion of Summers in the band, fearing it would undermine their punk credibility, and reluctantly agreed to provide £1,500 to finance The Police's first album. Recording Outlandos d'Amour was difficult, as the band was working on a small budget, with no manager or record deal. It was recorded during off-peak hours at the Surrey Sound Studios in Leatherhead, Surrey, a converted recording facility above a dairy which was run by brothers Chris and Nigel Gray.
During one of his periodic studio visits, Miles heard "Roxanne" for the first time at the end of a session. Where he had been less enthusiastic about the band's other songs, the elder Copeland was immediately struck by the track, and quickly got The Police a record deal with A&M Records on the strength of it. "Roxanne" was issued as a single in the spring of 1978, while other album tracks were still being recorded, but it failed to chart. It also failed to make the BBC's playlist, which the band attributed to the song's depiction of prostitution. A&M consequently promoted the single with posters claiming "Banned by the BBC", though it was never really banned, just not play-listed. Copeland later admitted, "We got a lot of mileage out of it being supposedly banned by the BBC."
The Police made their first television appearance in October 1978, on BBC2's The Old Grey Whistle Test to promote the release of Outlandos d'Amour. Though "Roxanne" was never banned, the BBC did ban the second single from Outlandos d'Amour, "Can't Stand Losing You". This was due to the single's cover, which featured Copeland hanging himself over an ice block being melted by a portable radiator. The single became a minor chart hit, The Police's first, peaking at No. 42 in the UK. The follow-up single, "So Lonely", issued in November 1978, failed to chart. In February 1979, "Roxanne" was issued as a single in North America, where it was warmly received on radio despite the subject matter. The song peaked at No. 31 in Canada and No. 32 in the US, spurring a UK re-release of it in April. The band performed "Roxanne" on BBC1's Top of the Pops, and the re-issue of the song finally gained the band widespread recognition in the UK when it peaked at No. 12 on the UK Singles Chart.
The group's UK success led to gigs in the US at the famous New York City club CBGB, The Rathskeller (The RAT) in Boston and at The Chance in Poughkeepsie, New York, from which "Roxanne" finally debuted on US radio on WPDH, and a gruelling 1979 North American tour in which the band drove themselves and their equipment around the country in a Ford Econoline van. That summer, "Can't Stand Losing You" was also re-released in the UK, becoming a substantial hit, peaking at No. 2. The group's first single, "Fall Out", was reissued in late 1979, peaking at No. 47 in the UK.
1979: Reggatta de Blanc
In October 1979, the group released their second album, Reggatta de Blanc, which topped the UK Albums Chart and became the first of four consecutive UK No. 1 studio albums. The album spawned the hit singles "Message in a Bottle" (No. 1 UK, No. 2 Canada, No. 5 Australia) and "Walking on the Moon" (No. 1 UK). The album's singles failed to enter the US top 40, but Reggatta de Blanc still reached No. 25 on the US album charts.
The band's first live performance of "Message in a Bottle" was on the BBC's television show Rock Goes to College filmed at Hatfield Polytechnic College in Hertfordshire. The instrumental title track "Reggatta de Blanc" won the Grammy Award for Best Rock Instrumental Performance. In February 1980, the single "So Lonely" was reissued in the UK. Originally a non-charting flop when first issued in late 1978, upon re-release the track became a UK top 10 hit, peaking at No. 6.
In March 1980, the Police began their first world tour, which included places that had seldom hosted foreign performers—including Mexico, India, Taiwan, Hong Kong, Greece and Egypt. The tour was subsequently documented in the film The Police Around the World (1982), directed by Kate and Derek Burbidge, which contains footage shot by Annie Nightingale originally intended for a BBC production The Police in the East.
In May 1980, A&M in the UK released Six Pack, a package containing the five previous A&M singles (not including "Fall Out") in their original sleeves plus a mono alternate take of the album track "The Bed's Too Big Without You" backed with a live version of "Truth Hits Everybody". It reached No. 17 in the UK Singles Chart (although chart regulations introduced later in the decade would have classed it as an album).
1980–1981: Zenyatta Mondatta
Pressured by their record company for a new record and a prompt return to touring, the Police released their third album, Zenyatta Mondatta, in October 1980. The album was recorded in a three-week period in the Netherlands for tax reasons. The album gave the group their third UK No. 1 hit, "Don't Stand So Close to Me" (the UK's best-selling single of 1980) and another hit single, "De Do Do Do, De Da Da Da", both of which reached No. 10 in the US.
While the three band members and co-producer Nigel Gray all expressed immediate regret over the rushed recording for the album, which was finished at 4 a.m. on the day the band began their world tour, the album received high praise from critics. The instrumental "Behind My Camel", written by Andy Summers, won the band a Grammy for Best Rock Instrumental Performance, while "Don't Stand So Close to Me" won the Grammy for Best Rock Vocal Performance for Duo or Group.
1981–1982: Ghost in the Machine and Brimstone and Treacle
The Police's fourth album, Ghost in the Machine, co-produced by Hugh Padgham, was recorded at Air Studios on the Caribbean island of Montserrat, with the exception of "Every Little Thing She Does Is Magic" which was recorded at Le Studio at Morin Heights, Quebec, Canada, and released in 1981. It featured thicker sounds, layered saxophones, and vocal textures. It spawned the hit singles "Every Little Thing She Does Is Magic" (featuring pianist Jean Roussel), their fourth UK No. 1 (No. 3 in the U.S.), "Invisible Sun", and "Spirits in the Material World". As the band was unable to agree on a cover picture, the album cover had three red pictographs, digital likenesses of the three band members in the style of segmented LED displays, set against a black background. In the 1980s, Sting and Summers became tax exiles and moved to Ireland (Sting to Roundstone, County Galway, and Summers to Kinsale in County Cork) while Copeland, an American, remained in England. The group opened and closed the 1981 concert film, Urgh! A Music War. The film, which captured the music scene in the wake of punk, was masterminded by Stewart Copeland's brothers Ian and Miles. The film had a limited release but developed a mythic reputation over the years.
At the 1982 Brit Awards in London, the Police received the award for Best British Group. After the Ghost in the Machine Tour concluded in 1982, the group took a sabbatical and each member pursued outside projects. By this time, Sting was becoming a major star, and he established a career beyond the Police by branching out into acting. Back in 1979, he had made a well-received debut as the "Ace Face" in the British drama film Quadrophenia, a film loosely based on The Who's rock opera, followed by a role as a mechanic in love with Eddie Cochran's music in Chris Petit's Radio On. In 1982, Sting furthered his acting career by co-starring in the Richard Loncraine film Brimstone and Treacle. He also had a minor solo hit in the United Kingdom with the movie's theme song, a cover of the 1929 hit "Spread a Little Happiness" (which appeared on the Brimstone & Treacle soundtrack, along with three new Police tracks, "How Stupid Mr Bates", "A Kind of Loving", and "I Burn for You"). Over 1981 and 1982, Summers recorded his first album with Robert Fripp, I Advance Masked.
In 1983, Stewart Copeland composed the musical score for Francis Ford Coppola's film Rumble Fish. The single "Don't Box Me In (theme From Rumble Fish)", a collaboration between Copeland and singer-songwriter Stan Ridgway (of the band Wall of Voodoo) received significant airplay upon release of the film that year. Also in 1983, Sting filmed his first big-budget movie role-playing Feyd-Rautha in David Lynch's Dune. As Sting's fame rose, his relationship with Stewart Copeland deteriorated. Their increasingly strained partnership was further stretched by the pressures of worldwide publicity and fame, conflicting egos, and their financial success. Meanwhile, both Sting's and Summers's marriages failed.
1983: Synchronicity and "The Biggest Band in the World"
In 1983, the Police released their last studio album, Synchronicity, which spawned the hit singles "Every Breath You Take", "Wrapped Around Your Finger", "King of Pain", and "Synchronicity II". By that time, several critics deemed them "the biggest rock band in the world". Recording the album, however, was a tense affair with increasing disputes among the band. The three members recorded their contributions individually in separate rooms and over-dubbed at different times.
The Synchronicity Tour began in Chicago, Illinois in July 1983 at the original Comiskey Park, and on 18 August the band played in front of 70,000 in Shea Stadium, New York. Near the end of the concert, Sting announced: "We'd like to thank the Beatles for lending us their stadium." Looking back, Copeland states, "Playing Shea Stadium was big because, even though I'm a septic tank (rhyming slang for 'Yank'), The Police is an English band and I'm a Londoner – an American Londoner – so it felt like conquering America." They played throughout the UK in December 1983, including four sold out nights at London's Wembley Arena, and the tour ended in Melbourne, Australia on 4 March 1984 at the Melbourne Showgrounds (the final concert featured Sunnyboys, Kids In The Kitchen, Bryan Adams and Australian Crawl, with the Police topping the bill). Sting's look, dominated by his orange-coloured hair (a result of his role in Dune) and tattered clothing, both of which were emphasised in the music videos from the album, carried over into the set for the concert. Except for "King of Pain", the singles were accompanied by music videos directed by Godley & Creme.
Synchronicity became a No. 1 album in both the UK (where it debuted at No. 1) and the US. It stayed at No. 1 in the UK for two weeks and in the US for seventeen weeks. It was nominated for Grammy Awards for Album of the Year, but lost to Michael Jackson's Thriller. "Every Breath You Take" won the Grammy for Song of the Year, beating Jackson's "Billie Jean". "Every Breath You Take" also won the Grammy for Best Pop Performance by a Duo or Group with Vocal, while the album won the Grammy for Best Rock Performance by a Duo or Group with Vocal. "Every Breath You Take" also won the American Video Award for Best Group video, and the song won two Ivor Novello Awards in the categories Best Song Musically and Lyrically and Most Performed Work from the British Academy of Songwriters, Composers, and Authors.
1984–1986: Hiatus, aborted sixth studio album
During the group's 1983 Shea Stadium concert, Sting felt performing at the venue was "Everest" and decided to pursue a solo career, according to the documentary The Last Play at Shea. After the Synchronicity tour ended in March 1984, the band went on hiatus while Sting recorded and toured in support of his successful solo debut LP, the jazz-influenced The Dream of the Blue Turtles, released in June 1985; Copeland recorded and filmed The Rhythmatist (1985); and Summers recorded another album with Robert Fripp (Bewitched, 1984) and the theme song for the film 2010—which was not used in the film, but included on the soundtrack album. At the 1985 Brit Awards held at London's Grosvenor Hotel on 11 February, the band received the award for Outstanding Contribution to Music. In July the same year, Sting and Copeland participated in Live Aid at Wembley Stadium, London.
In June 1986, the Police reconvened to play three concerts for the Amnesty International A Conspiracy of Hope tour. Their last performance on stage before their split was on 15 June at Giants Stadium in New Jersey. They ended their set with "Invisible Sun", bringing out Bono to sing the final verse. When they finished, they handed U2 their instruments for the all-star finale of "I Shall Be Released". As the lead singer of U2 – who themselves would soon be regarded as the biggest band in the world – Bono stated, "It was a very big moment, like passing a torch."
In July of that year, the trio reunited in the studio to record a new album. However, Copeland broke his collarbone in a fall from a horse and was unable to play the drums. As a result of the tense and short-lived reunion in the studio, "Don't Stand So Close to Me '86" was released in October 1986 as their final single and made it into the UK Top 25. It also appeared on the 1986 compilation Every Breath You Take: The Singles, which reached No. 1 in the UK album charts. A rerecorded version of "De Do Do Do De Da Da Da" was subsequently also included on the DTS-CD release of the Every Breath You Take: The Classics album in 1995. The album has sold over five million copies in the US.
Following the failed effort to record a new studio album, the Police effectively disbanded. In the liner notes to the Police's box set Message in a Box, Summers explains: "The attempt to record a new album was doomed from the outset. The night before we went into the studio Stewart broke his collarbone falling off a horse and that meant we lost our last chance of recovering some rapport just by jamming together. Anyway, it was clear Sting had no real intention of writing any new songs for the Police. It was an empty exercise."
1986–2006: Disbandment
Each band member continued with his solo career over the next 20 years. Sting continued recording and touring as a solo performer to great success. Summers recorded a number of albums, both as a solo artist and in collaboration with other musicians. Copeland became a prolific producer of movie and television soundtracks, and he recorded and toured with two new bands, Animal Logic and Oysterhead. However, a few events did bring the Police back together, albeit briefly. Summers played guitar on Sting's album ...Nothing Like the Sun (1987), a favour the singer returned by playing bass on Summers' album Charming Snakes (1989) and later singing lead vocals on "'Round Midnight" for Summers' tribute to Thelonious Monk Green Chimneys (1999). On 2 October 1991 (Sting's 40th birthday), Summers joined Sting on stage at the Hollywood Bowl during The Soul Cages Tour to perform "Walking on the Moon", "Every Breath You Take", and "Message in a Bottle". The performance was broadcast as a pay-per-view event.
On 22 August 1992, Sting married Trudie Styler in an 11th-century chapel in Wiltshire, southwest England. Summers and Copeland were invited to the ceremony and reception. Aware that all band members were present, the wedding guests pressured the trio into playing, and they performed "Roxanne" and "Message in a Bottle". Copeland said later that "after about three minutes, it became 'the thing' again". In 1995 A&M released Live!, a double live album produced by Summers featuring two complete concerts—one recorded on 27 November 1979 at the Orpheum Theatre in Boston during the Reggatta de Blanc tour, and one recorded on 2 November 1983 at the Omni in Atlanta, Georgia, during the Synchronicity Tour (the latter was also documented in the VHS tape Synchronicity Concert in 1984).
On 10 March 2003, the Police were inducted into the Rock and Roll Hall of Fame and performed "Roxanne", "Message in a Bottle", and "Every Breath You Take" live, as a group (the last song was performed alongside Steven Tyler, Gwen Stefani, and John Mayer). In the autumn of 2003, Sting released his autobiography, Broken Music.
In 2004, Copeland and Summers joined Incubus onstage at KROQ's Almost Acoustic Christmas concert in Los Angeles performing "Roxanne" and "Message in a Bottle". In 2004, Henry Padovani released an album with the participation of Copeland and Sting on one track, reuniting the original Police line-up for the first time since 1977. Also in 2004, Rolling Stone ranked the Police No. 70 on their list of the 100 Greatest Artists of All Time.
In 2006, Stewart Copeland released a rockumentary about the band called Everyone Stares: The Police Inside Out, based on Super-8 filming he did when the band was touring and recording in the late 1970s and early 1980s. In October 2006, Andy Summers released One Train Later, an autobiographical memoir detailing his early career and time with the band.
2007–2008: Reunion tour
In early 2007, reports surfaced the trio would reunite for a tour to mark the Police's 30th anniversary, more than 20 years since their split in 1986. On 22 January 2007, the punk wave magazine Side-Line broke the story the Police would reunite for the Grammys, and would perform "Roxanne". Side-Line also stated the Police were to embark on a massive world tour. Billboard magazine later confirmed the news, quoting Summers' 2006 statement as to how the band could have continued post-Synchronicity: "The more rational approach would have been, 'OK, Sting, go make a solo record, and let's get back together in two or three years.' I'm certain we could have done that. Of course we could have. We were definitely not in a creative dry space. We could have easily carried on, and we could probably still be there. That wasn't to be our fate. It went in another way. I regret we never paid it off with a last tour." The band opened the 49th Annual Grammy Awards on 11 February 2007 in Los Angeles, announcing, "Ladies and gentlemen, we are The Police, and we're back!" before launching into "Roxanne".
A&M, the band's record company, promoted the 2007–08 reunion tour as the 30th anniversary of the band's formation and of the release of their first single for A&M, "Roxanne". The Police Reunion Tour began in late May 2007 with two shows in Vancouver. Stewart Copeland gave a scathing review of the show on his own website, which the press interpreted as a feud occurring two gigs into the tour. Copeland later apologised for besmirching "my buddy Sting," and chalked up the comments to "hyper self-criticism".
Tickets for the British leg of the tour sold out within 30 minutes, and the band played two nights at Twickenham Stadium on 8 and 9 September. On 29 and 30 September 2007, Henry Padovani joined the group on stage for the final encore of their two shows in Paris, playing the song "Next to You" as a four-piece band. In October 2007, the group played the largest gig of the reunion tour in Dublin in front of 82,000 fans. The group headlined the TW Classic festival in Werchter, Belgium on 7 June 2008. They also headlined the last night of the 2008 Isle of Wight Festival on 15 June, the Heineken Jammin' Festival in Venice on 23 June and the Sunday night at Hard Rock Calling (previously called Hyde Park Calling) in London on 29 June.
In February 2008, the band announced that, when the tour finished, they would break up again. "There will be no new album, no big new tour," said Sting. "Once we're done with our reunion tour, that's it for The Police." The final show of the tour was on 7 August 2008 at Madison Square Garden in New York City. The band performed the opening song, "Message in a Bottle", with the brass band of the New York Metropolitan Police Corp. Later, they performed "Sunshine of Your Love" and "Purple Haze" as a tribute to the rock trios that preceded them: Cream and The Jimi Hendrix Experience. While announcing the show, the group also donated $1 million to New York Mayor Michael Bloomberg's initiative to plant one million trees in the city by 2017.
The world's highest-earning musicians in 2008, the tour sold 3.7 million tickets and grossed $358 million, making it the third-highest-grossing tour of all time at its conclusion. On 11 November 2008, the Police released Certifiable: Live in Buenos Aires, a Blu-ray, DVD and CD set of the band's two performances in Buenos Aires, Argentina on the tour (1 and 2 December 2007). Those sets with two DVDs also included a documentary shot by Copeland's son Jordan entitled Better Than Therapy as well as some photographs of Buenos Aires taken by Andy Summers.
Musical style
The Police started as a punk rock band, but soon expanded their music vocabulary to incorporate reggae, pop and new wave sonorities to their sound. In his retrospective assessment Stephen Thomas Erlewine of AllMusic argues that the notion of the Police as a punk rock band was true only "in the loosest sense of the term". He states the band's "nervous, reggae-injected pop/rock was punky" and had a "punk spirit" but it "wasn't necessarily punk". A "power trio," The Police are known as a new wave and post-punk band, with many songs falling in the reggae-fusion genre.
Legacy
In 2003, the Police were inducted into the Rock and Roll Hall of Fame in their first year of eligibility. In 2004, Rolling Stone ranked the Police number 70 on their list of the 100 Greatest Artists of All Time, and in 2010, the band were ranked 40th on VH1's 100 Greatest Artists of All Time. Four of the band's five studio albums appeared on Rolling Stone'''s 2003 list of the 500 Greatest Albums of All Time: Ghost in the Machine (number 322), Reggatta de Blanc (number 369), Outlandos d'Amour (number 434), and Synchronicity (number 455). In 2008, Q magazine named Synchronicity among the top 10 British Albums of the 1980s.
The primary songwriter for the Police, Sting was inducted into the Songwriters Hall of Fame in 2002. In Rolling Stone's 2004 list of the 500 greatest songs of all time, "Every Breath You Take" ranked number 84 (the highest new wave song on the list), and "Roxanne" ranked number 388. "Message in a Bottle" ranked number 65 in the magazine's 2008 list of the 100 greatest guitar songs. Q magazine named "Every Breath You Take" among the top 10 British Songs of the 1980s, and in a UK-wide poll by ITV in 2015 it was voted The Nation's Favourite 80s Number One. In May 2019, "Every Breath You Take" was recognized by BMI as being the most performed song in their catalogue, overtaking "You've Lost That Lovin' Feelin'" performed by the Righteous Brothers.
With a string of UK number one albums, the Police were among the most commercially successful British bands of the early 1980s, and with success overseas they are typically regarded as in both the vanguard of the Second British Invasion, and the new wave movement. With a history of playing to large audiences (such as Shea Stadium in 1983), the Police were a featured artist in the stadium rock episode of the 2007 BBC/VH1 series Seven Ages of Rock along with Queen, Led Zeppelin, U2 and Bruce Springsteen. Despite the band's well-documented disagreements with one another, Summers confirmed in 2015 that Sting, Copeland and he are good friends. Summers said, "Despite the general press thing about 'God, they hate each other', it's actually not true, we're very supportive of one another."
DiscographyOutlandos d'Amour (1978)Reggatta de Blanc (1979)Zenyatta Mondatta (1980)Ghost in the Machine (1981)Synchronicity (1983)
Concert tours
The Police Around the World Tour (1977–1980)
Zenyatta Mondatta Tour (1980–1981)
Ghost in the Machine Tour (1981–1982)
Synchronicity Tour (1983–1984)
The Police Reunion Tour (2007–2008)
Band members
Stewart Copeland – drums, percussion, backing and lead vocals, keyboards, guitars (1977–1986, 2003, 2007–2008)
Sting – lead and backing vocals, bass guitar, double bass, keyboards, saxophone, harmonica (1977–1986, 2003, 2007–2008)
Andy Summers – guitars, backing and lead vocals, keyboards (1977–1986, 2003, 2007–2008)
Henry Padovani – guitar (1977; 2007 reunion tour finale, Paris with Sting, Summers, and Copeland)
Awards and nominations
Brit Awards
1982: Best British Group
1985: Outstanding Contribution to Music
Grammy Awards
|-
!scope="row" | 1981
| "Reggatta de Blanc"
| rowspan= "2" | Best Rock Instrumental Performance
|
|-
!scope="row" rowspan= "2" | 1982
| "Behind My Camel"
|
|-
| "Don't Stand So Close to Me"
| Best Rock Performance by a Duo or Group with Vocal
|
|-
!scope="row" rowspan= "4" | 1984
| rowspan= "2" | Synchronicity| Album of the Year
|
|-
| Best Rock Performance by a Duo or Group with Vocal
|
|-
| rowspan= "2" | "Every Breath You Take"
| Record of the Year
|
|-
| Best Pop Performance by a Duo or Group with Vocal
|
|-
!scope="row" | 1986
| The Police Synchronicity Concert
| Best Music Video, Long Form
|
|-
Juno Awards
|-
| rowspan="2" | 1984
| Synchronicity| International Album of the Year
|
People's Choice Awards
|-
| 2008
| Themselves
| Favorite Reunion Tour
|
Rock and Roll Hall of Fame
The Police were inducted into the Rock and Roll Hall of Fame on 10 March 2003.
Other lists
Ranked No.70 on Rolling Stone''s Immortals, the 100 Greatest Artists of All Time.
Ranked No.40 on VH1's List of 100 Greatest Artists of All Time.
See also
List of best-selling music artists
List of highest-grossing concert tours
List of new wave artists
List of reggae rock artists
References
Citations
Sources
External links
thepolice.com
thepolicetour.com
1977 establishments in England
1977 in London
A&M Records artists
Brit Award winners
British musical trios
English new wave musical groups
Grammy Award winners
Juno Award for International Album of the Year winners
Musical groups established in 1977
Musical groups reestablished in 2007
Musical groups disestablished in 2008
Musical groups from London
Reggae rock groups | false | [
"The Piano Sonata No. 6, Op. 13, by Samuil Feinberg was composed in 1923. The piece received its premiere on 4 September 1925 at the Festival of Contemporary Music in Venice. Its premiere was attended by famous composers of the time such as Igor Stravinsky and Arnold Schoenberg. Feinberg's composition was well-received, and would remain his only piano sonata to receive a wide publication.\n\nHistory\nThe sonata received its premiere on 4 September 1925 at the Festival of Contemporary Music in Venice, with Feinberg himself as the soloist. The piece was well received and even resulted in some publicity when the Dutch journal De Telegraaf pitted Feinberg's composition against the Piano Sonata of Igor Stravinsky, who was also in attendance of the festival.\n\nStructure and content\nThe 6th sonata encompasses a single movement, usually lasting around 15 minutes\n\nNotes\n\nReferences\n\nFeinberg 06\n1923 compositions",
"Goodnight Already! is a children's book series by American author Jory John, illustrated by Benji Davies and published by HarperCollins. The series includes four books: Goodnight Already! (2014), I Love You Already! (2015), Come Home Already! (2017), and All Right Already! (2018).\n\nGoodnight Already! \nGoodnight Already! was published December 2, 2014.\n\nThe book received positive reviews from Booklist and Publishers Weekly, as well as a mediocre review from Kirkus Reviews. It also received the following accolades:\n\n Goodreads Choice Award Nominee for Picture Books (2015)\n E. B. White Read-Aloud Honor Book (2015)\n\nI Love You Already! \nI Love You Already! was published December 22, 2015.\n\nThe book received positive reviews from Publishers Weekly and Booklist, as well as a mediocre review from Kirkus Reviews.\n\nCome Home Already! \nCome Home Already! was published December 5, 2017.\n\nThe book received a positive review from Kirkus Reviews and was named one of Bank Street College of Education's Best Children's Books of the Year (2018).\n\nAll Right Already! \nAll Right Already! was published November 13, 2018.\n\nThe book received a positive review from School Library Journal.\n\nReferences \n\nHarperCollins books\nSeries of children's books"
]
|
[
"The Police",
"1983: Synchronicity and \"The Biggest Band in the World\"",
"What is Synchronicity?",
"In 1983, the Police released their last studio album, Synchronicity,",
"Was it well received?",
"According to Billboard and Guinness' British Hit Singles & Albums the album became a No. 1 album in both the UK (where it debuted at No. 1)"
]
| C_08763f19d12747cba208109797436417_0 | Did they tour to promote the album? | 3 | Did the Police tour to promote the album, Synchronicity? | The Police | In 1983, the Police released their last studio album, Synchronicity, which spawned the hit singles "Every Breath You Take", "Wrapped Around Your Finger", "King of Pain", and "Synchronicity II". By that time, several critics deemed them "the biggest rock band in the world." Recording the album, however, was a tense affair with increasing disputes among the band. The three members recorded their contributions individually in separate rooms and over-dubbed at different times. The Synchronicity Tour began in Chicago, Illinois in July 1983 at the original Comiskey Park, and on 18 August the band played in front of 70,000 in Shea Stadium, New York. They played throughout the UK in December 1983, including four sold out nights at London's Wembley Arena, and the tour ended in Melbourne, Australia in March 1984 at the Melbourne Showgrounds (the final concert featured Sunny Boys, Australian Crawl and Bryan Adams, with the Police topping the bill). Sting's look, dominated by his orange-coloured hair (a result from his role in Dune) and tattered clothing, both of which were emphasised in the music videos from the album, carried over into the set for the concert. Except for "King of Pain", the singles were accompanied by music videos directed by Godley & Creme. According to Billboard and Guinness' British Hit Singles & Albums the album became a No. 1 album in both the UK (where it debuted at No. 1) and the US. It stayed at No. 1 in the UK for two weeks and in the US for seventeen weeks. It was nominated for Grammy Awards for Album of the Year, but lost to Michael Jackson's Thriller. "Every Breath You Take" won the Grammy for Song of the Year, beating Jackson's "Billie Jean". "Every Breath You Take" also won the Grammy for Best Pop Performance by a Duo or Group with Vocal, while "Synchronicity II" won the Grammy for Best Rock Performance by a Duo or Group with Vocal. "Every Breath You Take" also won the American Video Award for Best Group video, and the song won two Ivor Novello Awards in the categories Best Song Musically and Lyrically and Most Performed Work from the British Academy of Songwriters, Composers and Authors. CANNOTANSWER | The Synchronicity Tour began in Chicago, Illinois in July 1983 at the original Comiskey Park, | The Police were an English rock band formed in London in 1977. For most of their history the line-up consisted of primary songwriter Sting (lead vocals, bass guitar), Andy Summers (guitar) and Stewart Copeland (drums, percussion). The Police became globally popular in the late 1970s and early 1980s. Emerging in the British new wave scene, they played a style of rock influenced by punk, reggae, and jazz.
Their 1978 debut album, Outlandos d'Amour, reached No. 6 on the UK Albums Chart on the strength of the singles "Roxanne" and "Can't Stand Losing You". Their second album, Reggatta de Blanc (1979), became the first of four consecutive No. 1 studio albums in the UK and Australia; its first two singles, "Message in a Bottle" and "Walking on the Moon", became their first UK number ones. Their next two albums, Zenyatta Mondatta (1980) and Ghost in the Machine (1981), led to further critical and commercial success with two songs, "Don't Stand So Close to Me" and "Every Little Thing She Does Is Magic", becoming UK number-one singles and Top 5 hits in other countries; the latter album and single were their breakthrough into the US as both reached the Top 3 there.
Their final studio album, Synchronicity (1983), was No. 1 in the UK, Canada, Australia, Italy and the US, selling over 8 million copies in the US. Its lead single, "Every Breath You Take", became their fifth UK number one, and only US number one. During this time, the band were considered one of the leaders of the Second British Invasion of the US; in 1983 Rolling Stone labelled them "the first British New Wave act to break through in America on a grand scale, and possibly the biggest band in the world." The Police disbanded in 1986, but reunited in early 2007 for a one-off world tour that ended in August 2008. They were the world's highest-earning musicians in 2008, due to their reunion tour.
The Police have sold over 75 million records, making them one of the best-selling bands of all time. The band won a number of music awards, including six Grammy Awards, two Brit Awards—winning Best British Group once, and an MTV Video Music Award. In 2003, they were inducted into the Rock and Roll Hall of Fame. Four of their five studio albums appeared on Rolling Stones list of the "500 Greatest Albums of All Time". The band were included among both Rolling Stones and VH1's lists of the "100 Greatest Artists of All Time".
History
1977: Formation
In late November 1976, while on tour with the British progressive rock band Curved Air in Newcastle upon Tyne, in the northeast of England, the band's American drummer, Stewart Copeland, met and exchanged phone numbers with ambitious singer-bassist (and former schoolteacher) Gordon Sumner a.k.a. Sting (so nicknamed because of his habit of wearing a black-and-yellow striped sweater resembling a wasp), who at the time was playing in a jazz-rock fusion band called Last Exit. On 12 January 1977, Sting relocated to London and, on the day of his arrival, sought out Copeland for a jam session.
Curved Air had recently split up and Copeland, inspired by the contemporary punk rock movement, was eager to form a new band to join the burgeoning London punk scene. While less keen, Sting acknowledged the commercial opportunities, so they formed The Police as a trio, with Corsican guitarist Henry Padovani recruited as the third member. After their debut concert on 1 March 1977 at Alexander's in Newport, Wales (which lasted only ten minutes), the group played London pubs and Punk clubs touring as backing band and support act for Cherry Vanilla and for Wayne County & the Electric Chairs. On 1 May 1977, The Police released on Illegal Records their debut single "Fall Out," recorded at Pathway Studios in Islington, North London on 12 February 1977 (a couple of weeks before the band's debut live performance), with a budget of £150. This is the only Police recording featuring Henry Padovani. Mick Jagger reviewed the single in Sounds magazine.
Also in May 1977, former Gong musician Mike Howlett invited Sting to join him in the band project Strontium 90. The drummer Howlett had in mind, Chris Cutler, was unavailable, so Sting took Copeland. The band's fourth member was guitarist Andy Summers. A decade older than Sting and Copeland, Summers was a music industry veteran who had played with Eric Burdon and the Animals and Kevin Ayers among others. Strontium 90 performed at a Gong reunion concert in Paris on 28 May 1977, and played at a London club (under the name of "the Elevators") in July. The band also recorded several demo tracks: these were released (along with live recordings and an early version of "Every Little Thing She Does Is Magic") 20 years later on the archive album Strontium 90: Police Academy.
Summers's musicality impressed Sting, who was becoming frustrated with Padovani's rudimentary abilities and the limitations they imposed on The Police's potential. Shortly after the Strontium 90 gig, Sting approached Summers to join the band. He agreed, on the condition the band remain a trio, with him replacing Padovani. Restrained by loyalty, Copeland and Sting resisted the idea, and The Police carried on as a four-piece version. However, they only performed live twice: on 25 July 1977 at the Music Machine in London and on 5 August at the Mont de Marsan Punk Festival. Shortly after these two gigs (and an aborted recording session with ex-Velvet Underground member John Cale as producer on 10 August), Summers delivered an ultimatum to the band and Padovani was dismissed leaving him free to join Wayne County & The Electric Chairs. The effect of Summers's arrival was instant: Copeland said: "One by one, Sting's songs had started coming in, and when Andy joined, it opened up new numbers of Sting's we could do, so the material started to get a lot more interesting and Sting started to take a lot more interest in the group."
The Police's power trio line-up of Copeland, Sting, and Summers performed for the first time on 18 August 1977 at Rebecca's club in Birmingham in the West Midlands. A trio was unusual for the time, and this line-up endured for the rest of the band's history. Few punk bands were three-pieces, while contemporary bands pursuing progressive rock, symphonic rock and other sound trends usually expanded their line-ups with support players. The musical background of all three players may have made them suspect to punk purists, with music critic Christopher Gable stating,
The band were also able to draw on influences from reggae to jazz to progressive and pub rock. While still maintaining the main band and attempting to win over punk audiences, Police members continued to moonlight within the art rock scene. In late 1977 and early 1978, Sting and Summers recorded and performed as part of an ensemble led by German experimental composer Eberhard Schoener; Copeland also joined for a time. These performances resulted in three albums, each of them an eclectic mix of rock, electronica and jazz. Various appearances by the Schoener outfit on German television made the German public aware of Sting's unusual high-pitched voice, and helped pave the way for The Police's later popularity.
The bleached-blond hair that became a band trademark happened by accident. In February 1978, the band, desperate for money, was asked to do a commercial for Wrigley's Spearmint chewing gum (directed by Tony Scott) on the condition they dye their hair blond. The commercial was shot with the band, but was shelved and never aired.
1977–1978: Recording contract and Outlandos d'Amour
Copeland's older brother Miles was initially sceptical of the inclusion of Summers in the band, fearing it would undermine their punk credibility, and reluctantly agreed to provide £1,500 to finance The Police's first album. Recording Outlandos d'Amour was difficult, as the band was working on a small budget, with no manager or record deal. It was recorded during off-peak hours at the Surrey Sound Studios in Leatherhead, Surrey, a converted recording facility above a dairy which was run by brothers Chris and Nigel Gray.
During one of his periodic studio visits, Miles heard "Roxanne" for the first time at the end of a session. Where he had been less enthusiastic about the band's other songs, the elder Copeland was immediately struck by the track, and quickly got The Police a record deal with A&M Records on the strength of it. "Roxanne" was issued as a single in the spring of 1978, while other album tracks were still being recorded, but it failed to chart. It also failed to make the BBC's playlist, which the band attributed to the song's depiction of prostitution. A&M consequently promoted the single with posters claiming "Banned by the BBC", though it was never really banned, just not play-listed. Copeland later admitted, "We got a lot of mileage out of it being supposedly banned by the BBC."
The Police made their first television appearance in October 1978, on BBC2's The Old Grey Whistle Test to promote the release of Outlandos d'Amour. Though "Roxanne" was never banned, the BBC did ban the second single from Outlandos d'Amour, "Can't Stand Losing You". This was due to the single's cover, which featured Copeland hanging himself over an ice block being melted by a portable radiator. The single became a minor chart hit, The Police's first, peaking at No. 42 in the UK. The follow-up single, "So Lonely", issued in November 1978, failed to chart. In February 1979, "Roxanne" was issued as a single in North America, where it was warmly received on radio despite the subject matter. The song peaked at No. 31 in Canada and No. 32 in the US, spurring a UK re-release of it in April. The band performed "Roxanne" on BBC1's Top of the Pops, and the re-issue of the song finally gained the band widespread recognition in the UK when it peaked at No. 12 on the UK Singles Chart.
The group's UK success led to gigs in the US at the famous New York City club CBGB, The Rathskeller (The RAT) in Boston and at The Chance in Poughkeepsie, New York, from which "Roxanne" finally debuted on US radio on WPDH, and a gruelling 1979 North American tour in which the band drove themselves and their equipment around the country in a Ford Econoline van. That summer, "Can't Stand Losing You" was also re-released in the UK, becoming a substantial hit, peaking at No. 2. The group's first single, "Fall Out", was reissued in late 1979, peaking at No. 47 in the UK.
1979: Reggatta de Blanc
In October 1979, the group released their second album, Reggatta de Blanc, which topped the UK Albums Chart and became the first of four consecutive UK No. 1 studio albums. The album spawned the hit singles "Message in a Bottle" (No. 1 UK, No. 2 Canada, No. 5 Australia) and "Walking on the Moon" (No. 1 UK). The album's singles failed to enter the US top 40, but Reggatta de Blanc still reached No. 25 on the US album charts.
The band's first live performance of "Message in a Bottle" was on the BBC's television show Rock Goes to College filmed at Hatfield Polytechnic College in Hertfordshire. The instrumental title track "Reggatta de Blanc" won the Grammy Award for Best Rock Instrumental Performance. In February 1980, the single "So Lonely" was reissued in the UK. Originally a non-charting flop when first issued in late 1978, upon re-release the track became a UK top 10 hit, peaking at No. 6.
In March 1980, the Police began their first world tour, which included places that had seldom hosted foreign performers—including Mexico, India, Taiwan, Hong Kong, Greece and Egypt. The tour was subsequently documented in the film The Police Around the World (1982), directed by Kate and Derek Burbidge, which contains footage shot by Annie Nightingale originally intended for a BBC production The Police in the East.
In May 1980, A&M in the UK released Six Pack, a package containing the five previous A&M singles (not including "Fall Out") in their original sleeves plus a mono alternate take of the album track "The Bed's Too Big Without You" backed with a live version of "Truth Hits Everybody". It reached No. 17 in the UK Singles Chart (although chart regulations introduced later in the decade would have classed it as an album).
1980–1981: Zenyatta Mondatta
Pressured by their record company for a new record and a prompt return to touring, the Police released their third album, Zenyatta Mondatta, in October 1980. The album was recorded in a three-week period in the Netherlands for tax reasons. The album gave the group their third UK No. 1 hit, "Don't Stand So Close to Me" (the UK's best-selling single of 1980) and another hit single, "De Do Do Do, De Da Da Da", both of which reached No. 10 in the US.
While the three band members and co-producer Nigel Gray all expressed immediate regret over the rushed recording for the album, which was finished at 4 a.m. on the day the band began their world tour, the album received high praise from critics. The instrumental "Behind My Camel", written by Andy Summers, won the band a Grammy for Best Rock Instrumental Performance, while "Don't Stand So Close to Me" won the Grammy for Best Rock Vocal Performance for Duo or Group.
1981–1982: Ghost in the Machine and Brimstone and Treacle
The Police's fourth album, Ghost in the Machine, co-produced by Hugh Padgham, was recorded at Air Studios on the Caribbean island of Montserrat, with the exception of "Every Little Thing She Does Is Magic" which was recorded at Le Studio at Morin Heights, Quebec, Canada, and released in 1981. It featured thicker sounds, layered saxophones, and vocal textures. It spawned the hit singles "Every Little Thing She Does Is Magic" (featuring pianist Jean Roussel), their fourth UK No. 1 (No. 3 in the U.S.), "Invisible Sun", and "Spirits in the Material World". As the band was unable to agree on a cover picture, the album cover had three red pictographs, digital likenesses of the three band members in the style of segmented LED displays, set against a black background. In the 1980s, Sting and Summers became tax exiles and moved to Ireland (Sting to Roundstone, County Galway, and Summers to Kinsale in County Cork) while Copeland, an American, remained in England. The group opened and closed the 1981 concert film, Urgh! A Music War. The film, which captured the music scene in the wake of punk, was masterminded by Stewart Copeland's brothers Ian and Miles. The film had a limited release but developed a mythic reputation over the years.
At the 1982 Brit Awards in London, the Police received the award for Best British Group. After the Ghost in the Machine Tour concluded in 1982, the group took a sabbatical and each member pursued outside projects. By this time, Sting was becoming a major star, and he established a career beyond the Police by branching out into acting. Back in 1979, he had made a well-received debut as the "Ace Face" in the British drama film Quadrophenia, a film loosely based on The Who's rock opera, followed by a role as a mechanic in love with Eddie Cochran's music in Chris Petit's Radio On. In 1982, Sting furthered his acting career by co-starring in the Richard Loncraine film Brimstone and Treacle. He also had a minor solo hit in the United Kingdom with the movie's theme song, a cover of the 1929 hit "Spread a Little Happiness" (which appeared on the Brimstone & Treacle soundtrack, along with three new Police tracks, "How Stupid Mr Bates", "A Kind of Loving", and "I Burn for You"). Over 1981 and 1982, Summers recorded his first album with Robert Fripp, I Advance Masked.
In 1983, Stewart Copeland composed the musical score for Francis Ford Coppola's film Rumble Fish. The single "Don't Box Me In (theme From Rumble Fish)", a collaboration between Copeland and singer-songwriter Stan Ridgway (of the band Wall of Voodoo) received significant airplay upon release of the film that year. Also in 1983, Sting filmed his first big-budget movie role-playing Feyd-Rautha in David Lynch's Dune. As Sting's fame rose, his relationship with Stewart Copeland deteriorated. Their increasingly strained partnership was further stretched by the pressures of worldwide publicity and fame, conflicting egos, and their financial success. Meanwhile, both Sting's and Summers's marriages failed.
1983: Synchronicity and "The Biggest Band in the World"
In 1983, the Police released their last studio album, Synchronicity, which spawned the hit singles "Every Breath You Take", "Wrapped Around Your Finger", "King of Pain", and "Synchronicity II". By that time, several critics deemed them "the biggest rock band in the world". Recording the album, however, was a tense affair with increasing disputes among the band. The three members recorded their contributions individually in separate rooms and over-dubbed at different times.
The Synchronicity Tour began in Chicago, Illinois in July 1983 at the original Comiskey Park, and on 18 August the band played in front of 70,000 in Shea Stadium, New York. Near the end of the concert, Sting announced: "We'd like to thank the Beatles for lending us their stadium." Looking back, Copeland states, "Playing Shea Stadium was big because, even though I'm a septic tank (rhyming slang for 'Yank'), The Police is an English band and I'm a Londoner – an American Londoner – so it felt like conquering America." They played throughout the UK in December 1983, including four sold out nights at London's Wembley Arena, and the tour ended in Melbourne, Australia on 4 March 1984 at the Melbourne Showgrounds (the final concert featured Sunnyboys, Kids In The Kitchen, Bryan Adams and Australian Crawl, with the Police topping the bill). Sting's look, dominated by his orange-coloured hair (a result of his role in Dune) and tattered clothing, both of which were emphasised in the music videos from the album, carried over into the set for the concert. Except for "King of Pain", the singles were accompanied by music videos directed by Godley & Creme.
Synchronicity became a No. 1 album in both the UK (where it debuted at No. 1) and the US. It stayed at No. 1 in the UK for two weeks and in the US for seventeen weeks. It was nominated for Grammy Awards for Album of the Year, but lost to Michael Jackson's Thriller. "Every Breath You Take" won the Grammy for Song of the Year, beating Jackson's "Billie Jean". "Every Breath You Take" also won the Grammy for Best Pop Performance by a Duo or Group with Vocal, while the album won the Grammy for Best Rock Performance by a Duo or Group with Vocal. "Every Breath You Take" also won the American Video Award for Best Group video, and the song won two Ivor Novello Awards in the categories Best Song Musically and Lyrically and Most Performed Work from the British Academy of Songwriters, Composers, and Authors.
1984–1986: Hiatus, aborted sixth studio album
During the group's 1983 Shea Stadium concert, Sting felt performing at the venue was "Everest" and decided to pursue a solo career, according to the documentary The Last Play at Shea. After the Synchronicity tour ended in March 1984, the band went on hiatus while Sting recorded and toured in support of his successful solo debut LP, the jazz-influenced The Dream of the Blue Turtles, released in June 1985; Copeland recorded and filmed The Rhythmatist (1985); and Summers recorded another album with Robert Fripp (Bewitched, 1984) and the theme song for the film 2010—which was not used in the film, but included on the soundtrack album. At the 1985 Brit Awards held at London's Grosvenor Hotel on 11 February, the band received the award for Outstanding Contribution to Music. In July the same year, Sting and Copeland participated in Live Aid at Wembley Stadium, London.
In June 1986, the Police reconvened to play three concerts for the Amnesty International A Conspiracy of Hope tour. Their last performance on stage before their split was on 15 June at Giants Stadium in New Jersey. They ended their set with "Invisible Sun", bringing out Bono to sing the final verse. When they finished, they handed U2 their instruments for the all-star finale of "I Shall Be Released". As the lead singer of U2 – who themselves would soon be regarded as the biggest band in the world – Bono stated, "It was a very big moment, like passing a torch."
In July of that year, the trio reunited in the studio to record a new album. However, Copeland broke his collarbone in a fall from a horse and was unable to play the drums. As a result of the tense and short-lived reunion in the studio, "Don't Stand So Close to Me '86" was released in October 1986 as their final single and made it into the UK Top 25. It also appeared on the 1986 compilation Every Breath You Take: The Singles, which reached No. 1 in the UK album charts. A rerecorded version of "De Do Do Do De Da Da Da" was subsequently also included on the DTS-CD release of the Every Breath You Take: The Classics album in 1995. The album has sold over five million copies in the US.
Following the failed effort to record a new studio album, the Police effectively disbanded. In the liner notes to the Police's box set Message in a Box, Summers explains: "The attempt to record a new album was doomed from the outset. The night before we went into the studio Stewart broke his collarbone falling off a horse and that meant we lost our last chance of recovering some rapport just by jamming together. Anyway, it was clear Sting had no real intention of writing any new songs for the Police. It was an empty exercise."
1986–2006: Disbandment
Each band member continued with his solo career over the next 20 years. Sting continued recording and touring as a solo performer to great success. Summers recorded a number of albums, both as a solo artist and in collaboration with other musicians. Copeland became a prolific producer of movie and television soundtracks, and he recorded and toured with two new bands, Animal Logic and Oysterhead. However, a few events did bring the Police back together, albeit briefly. Summers played guitar on Sting's album ...Nothing Like the Sun (1987), a favour the singer returned by playing bass on Summers' album Charming Snakes (1989) and later singing lead vocals on "'Round Midnight" for Summers' tribute to Thelonious Monk Green Chimneys (1999). On 2 October 1991 (Sting's 40th birthday), Summers joined Sting on stage at the Hollywood Bowl during The Soul Cages Tour to perform "Walking on the Moon", "Every Breath You Take", and "Message in a Bottle". The performance was broadcast as a pay-per-view event.
On 22 August 1992, Sting married Trudie Styler in an 11th-century chapel in Wiltshire, southwest England. Summers and Copeland were invited to the ceremony and reception. Aware that all band members were present, the wedding guests pressured the trio into playing, and they performed "Roxanne" and "Message in a Bottle". Copeland said later that "after about three minutes, it became 'the thing' again". In 1995 A&M released Live!, a double live album produced by Summers featuring two complete concerts—one recorded on 27 November 1979 at the Orpheum Theatre in Boston during the Reggatta de Blanc tour, and one recorded on 2 November 1983 at the Omni in Atlanta, Georgia, during the Synchronicity Tour (the latter was also documented in the VHS tape Synchronicity Concert in 1984).
On 10 March 2003, the Police were inducted into the Rock and Roll Hall of Fame and performed "Roxanne", "Message in a Bottle", and "Every Breath You Take" live, as a group (the last song was performed alongside Steven Tyler, Gwen Stefani, and John Mayer). In the autumn of 2003, Sting released his autobiography, Broken Music.
In 2004, Copeland and Summers joined Incubus onstage at KROQ's Almost Acoustic Christmas concert in Los Angeles performing "Roxanne" and "Message in a Bottle". In 2004, Henry Padovani released an album with the participation of Copeland and Sting on one track, reuniting the original Police line-up for the first time since 1977. Also in 2004, Rolling Stone ranked the Police No. 70 on their list of the 100 Greatest Artists of All Time.
In 2006, Stewart Copeland released a rockumentary about the band called Everyone Stares: The Police Inside Out, based on Super-8 filming he did when the band was touring and recording in the late 1970s and early 1980s. In October 2006, Andy Summers released One Train Later, an autobiographical memoir detailing his early career and time with the band.
2007–2008: Reunion tour
In early 2007, reports surfaced the trio would reunite for a tour to mark the Police's 30th anniversary, more than 20 years since their split in 1986. On 22 January 2007, the punk wave magazine Side-Line broke the story the Police would reunite for the Grammys, and would perform "Roxanne". Side-Line also stated the Police were to embark on a massive world tour. Billboard magazine later confirmed the news, quoting Summers' 2006 statement as to how the band could have continued post-Synchronicity: "The more rational approach would have been, 'OK, Sting, go make a solo record, and let's get back together in two or three years.' I'm certain we could have done that. Of course we could have. We were definitely not in a creative dry space. We could have easily carried on, and we could probably still be there. That wasn't to be our fate. It went in another way. I regret we never paid it off with a last tour." The band opened the 49th Annual Grammy Awards on 11 February 2007 in Los Angeles, announcing, "Ladies and gentlemen, we are The Police, and we're back!" before launching into "Roxanne".
A&M, the band's record company, promoted the 2007–08 reunion tour as the 30th anniversary of the band's formation and of the release of their first single for A&M, "Roxanne". The Police Reunion Tour began in late May 2007 with two shows in Vancouver. Stewart Copeland gave a scathing review of the show on his own website, which the press interpreted as a feud occurring two gigs into the tour. Copeland later apologised for besmirching "my buddy Sting," and chalked up the comments to "hyper self-criticism".
Tickets for the British leg of the tour sold out within 30 minutes, and the band played two nights at Twickenham Stadium on 8 and 9 September. On 29 and 30 September 2007, Henry Padovani joined the group on stage for the final encore of their two shows in Paris, playing the song "Next to You" as a four-piece band. In October 2007, the group played the largest gig of the reunion tour in Dublin in front of 82,000 fans. The group headlined the TW Classic festival in Werchter, Belgium on 7 June 2008. They also headlined the last night of the 2008 Isle of Wight Festival on 15 June, the Heineken Jammin' Festival in Venice on 23 June and the Sunday night at Hard Rock Calling (previously called Hyde Park Calling) in London on 29 June.
In February 2008, the band announced that, when the tour finished, they would break up again. "There will be no new album, no big new tour," said Sting. "Once we're done with our reunion tour, that's it for The Police." The final show of the tour was on 7 August 2008 at Madison Square Garden in New York City. The band performed the opening song, "Message in a Bottle", with the brass band of the New York Metropolitan Police Corp. Later, they performed "Sunshine of Your Love" and "Purple Haze" as a tribute to the rock trios that preceded them: Cream and The Jimi Hendrix Experience. While announcing the show, the group also donated $1 million to New York Mayor Michael Bloomberg's initiative to plant one million trees in the city by 2017.
The world's highest-earning musicians in 2008, the tour sold 3.7 million tickets and grossed $358 million, making it the third-highest-grossing tour of all time at its conclusion. On 11 November 2008, the Police released Certifiable: Live in Buenos Aires, a Blu-ray, DVD and CD set of the band's two performances in Buenos Aires, Argentina on the tour (1 and 2 December 2007). Those sets with two DVDs also included a documentary shot by Copeland's son Jordan entitled Better Than Therapy as well as some photographs of Buenos Aires taken by Andy Summers.
Musical style
The Police started as a punk rock band, but soon expanded their music vocabulary to incorporate reggae, pop and new wave sonorities to their sound. In his retrospective assessment Stephen Thomas Erlewine of AllMusic argues that the notion of the Police as a punk rock band was true only "in the loosest sense of the term". He states the band's "nervous, reggae-injected pop/rock was punky" and had a "punk spirit" but it "wasn't necessarily punk". A "power trio," The Police are known as a new wave and post-punk band, with many songs falling in the reggae-fusion genre.
Legacy
In 2003, the Police were inducted into the Rock and Roll Hall of Fame in their first year of eligibility. In 2004, Rolling Stone ranked the Police number 70 on their list of the 100 Greatest Artists of All Time, and in 2010, the band were ranked 40th on VH1's 100 Greatest Artists of All Time. Four of the band's five studio albums appeared on Rolling Stone'''s 2003 list of the 500 Greatest Albums of All Time: Ghost in the Machine (number 322), Reggatta de Blanc (number 369), Outlandos d'Amour (number 434), and Synchronicity (number 455). In 2008, Q magazine named Synchronicity among the top 10 British Albums of the 1980s.
The primary songwriter for the Police, Sting was inducted into the Songwriters Hall of Fame in 2002. In Rolling Stone's 2004 list of the 500 greatest songs of all time, "Every Breath You Take" ranked number 84 (the highest new wave song on the list), and "Roxanne" ranked number 388. "Message in a Bottle" ranked number 65 in the magazine's 2008 list of the 100 greatest guitar songs. Q magazine named "Every Breath You Take" among the top 10 British Songs of the 1980s, and in a UK-wide poll by ITV in 2015 it was voted The Nation's Favourite 80s Number One. In May 2019, "Every Breath You Take" was recognized by BMI as being the most performed song in their catalogue, overtaking "You've Lost That Lovin' Feelin'" performed by the Righteous Brothers.
With a string of UK number one albums, the Police were among the most commercially successful British bands of the early 1980s, and with success overseas they are typically regarded as in both the vanguard of the Second British Invasion, and the new wave movement. With a history of playing to large audiences (such as Shea Stadium in 1983), the Police were a featured artist in the stadium rock episode of the 2007 BBC/VH1 series Seven Ages of Rock along with Queen, Led Zeppelin, U2 and Bruce Springsteen. Despite the band's well-documented disagreements with one another, Summers confirmed in 2015 that Sting, Copeland and he are good friends. Summers said, "Despite the general press thing about 'God, they hate each other', it's actually not true, we're very supportive of one another."
DiscographyOutlandos d'Amour (1978)Reggatta de Blanc (1979)Zenyatta Mondatta (1980)Ghost in the Machine (1981)Synchronicity (1983)
Concert tours
The Police Around the World Tour (1977–1980)
Zenyatta Mondatta Tour (1980–1981)
Ghost in the Machine Tour (1981–1982)
Synchronicity Tour (1983–1984)
The Police Reunion Tour (2007–2008)
Band members
Stewart Copeland – drums, percussion, backing and lead vocals, keyboards, guitars (1977–1986, 2003, 2007–2008)
Sting – lead and backing vocals, bass guitar, double bass, keyboards, saxophone, harmonica (1977–1986, 2003, 2007–2008)
Andy Summers – guitars, backing and lead vocals, keyboards (1977–1986, 2003, 2007–2008)
Henry Padovani – guitar (1977; 2007 reunion tour finale, Paris with Sting, Summers, and Copeland)
Awards and nominations
Brit Awards
1982: Best British Group
1985: Outstanding Contribution to Music
Grammy Awards
|-
!scope="row" | 1981
| "Reggatta de Blanc"
| rowspan= "2" | Best Rock Instrumental Performance
|
|-
!scope="row" rowspan= "2" | 1982
| "Behind My Camel"
|
|-
| "Don't Stand So Close to Me"
| Best Rock Performance by a Duo or Group with Vocal
|
|-
!scope="row" rowspan= "4" | 1984
| rowspan= "2" | Synchronicity| Album of the Year
|
|-
| Best Rock Performance by a Duo or Group with Vocal
|
|-
| rowspan= "2" | "Every Breath You Take"
| Record of the Year
|
|-
| Best Pop Performance by a Duo or Group with Vocal
|
|-
!scope="row" | 1986
| The Police Synchronicity Concert
| Best Music Video, Long Form
|
|-
Juno Awards
|-
| rowspan="2" | 1984
| Synchronicity| International Album of the Year
|
People's Choice Awards
|-
| 2008
| Themselves
| Favorite Reunion Tour
|
Rock and Roll Hall of Fame
The Police were inducted into the Rock and Roll Hall of Fame on 10 March 2003.
Other lists
Ranked No.70 on Rolling Stone''s Immortals, the 100 Greatest Artists of All Time.
Ranked No.40 on VH1's List of 100 Greatest Artists of All Time.
See also
List of best-selling music artists
List of highest-grossing concert tours
List of new wave artists
List of reggae rock artists
References
Citations
Sources
External links
thepolice.com
thepolicetour.com
1977 establishments in England
1977 in London
A&M Records artists
Brit Award winners
British musical trios
English new wave musical groups
Grammy Award winners
Juno Award for International Album of the Year winners
Musical groups established in 1977
Musical groups reestablished in 2007
Musical groups disestablished in 2008
Musical groups from London
Reggae rock groups | true | [
"MDNA may refer to:\n\n Mitochondrial DNA (mDNA or mtDNA), the DNA located in organelles called mitochondria\n MDNA (album), a 2012 album by Madonna\n The MDNA Tour, the 2012 concert tour by Madonna to promote the album\n MDNA World Tour (album), the live album/BD of the tour\n\nSee also\n MDMA\n mRNA",
"The Halos & Horns Tour in 2002 was Dolly Parton's first major concert tour in 10 years and was to promote the release of her album Halos & Horns (2002). The tour started in the United States, moved to Ireland and England, before returning to the U.S. to finish.\n\nBackground\nIn the early 1990s Parton had stopped the grueling tour schedule that she had worked for most of her career; she was tired of it and did not see fit to keep a band on payroll. She continued to do casino shows in Atlantic City, New Jersey, and Las Vegas, and she also performed (usually annually) themed concerts at her Dollywood theme park.\n\nWith the resurgence of sorts of her career with the release of the album The Grass Is Blue (1999), Parton toyed with the idea of mounting a tour to promote the album. Scheduling conflicts with the many talented, and booked, musicians who played on the album prohibited the tour and the subsequent one which would have promoted the album Little Sparrow (2001). Parton did do some promotional concerts for the albums. She also appeared at the MerleFest at Wilkes Community College in Wilkesboro, North Carolina, on April 28, 2001, and performed a set list that comprised songs from the two albums as well as her greatest hits.\n\nDuring Dollywood's opening weekend in April 2002, it was announced that Parton would release a new album, Halos & Horns, and would launch her first tour in a decade. The tour was promoted and produced by House of Blues. The venues were mainly club settings and seated somewhere between 1,000 and 2,500. Subsequently, every date on the tour sold out. Most reviews praised Parton and her recent bluegrass/folk releases.\n\nParton stated in interviews to promote the album and tour that the shows she would be performing would be very simple. There was no glitz or lights or video monitors that she had employed with her earlier tours in the late 1980s and early 1990s. Most of the songs that made up the set list were in the country/bluegrass/folk vein, although Parton did include her biggest pop hits in an a cappella medley. \"9 to 5\" was treated to a very stripped down, bluegrass treatment.\n\nSet list\nThe following set list is representative of the December 12 and 13 shows at the Celebrity Theatre at Dollywood. It is not representative of all concerts for the duration of the tour.\n\n\"Orange Blossom Special\"\n\"Train Train\"\n\"The Grass Is Blue\"\n\"Mountain Angel\"\n\"Shine\"\n\"Little Sparrow\"\n\"Rocky Top\"\n\"My Tennessee Mountain Home\"\n\"Coat of Many Colors\"\n\"Smoky Mountain Memories\"\n\"Applejack\"\n\"Marry Me\"\n\"Halos and Horns\"\n\"I'm Gone\"\n\"Dagger Through the Heart\"\n\"If\"\n\"After the Gold Rush\"\n\"9 to 5\"\n\"Jolene\"\nAcapella Medley: \"Islands in the Stream\" / \"Here You Come Again\" / \"Why'd You Come in Here Lookin' Like That\" / \"Two Doors Down\"\n\"We Irish\"\nStairway to Heaven\"\n\"I Will Always Love You\"\n\nNotes\n\"Color Me America\", \"Calm on the Water\", \"Try\", \"Down from Dover\", \"I Don't Wanna Throw Rice\", \"He's a Go Getter\", and \"I'll Oilwells Love You\" were performed on select dates.\n\nTour dates\n\nExternal links\nParton's Official Website\n\nReferences\n\n Dollymania page on tour press release\n Village Voice review\n\nDolly Parton concert tours\n2002 concert tours"
]
|
[
"The Police",
"1983: Synchronicity and \"The Biggest Band in the World\"",
"What is Synchronicity?",
"In 1983, the Police released their last studio album, Synchronicity,",
"Was it well received?",
"According to Billboard and Guinness' British Hit Singles & Albums the album became a No. 1 album in both the UK (where it debuted at No. 1)",
"Did they tour to promote the album?",
"The Synchronicity Tour began in Chicago, Illinois in July 1983 at the original Comiskey Park,"
]
| C_08763f19d12747cba208109797436417_0 | Did they tour in other countries? | 4 | Besides Chicago, Illinois, did the Police tour in other countries? | The Police | In 1983, the Police released their last studio album, Synchronicity, which spawned the hit singles "Every Breath You Take", "Wrapped Around Your Finger", "King of Pain", and "Synchronicity II". By that time, several critics deemed them "the biggest rock band in the world." Recording the album, however, was a tense affair with increasing disputes among the band. The three members recorded their contributions individually in separate rooms and over-dubbed at different times. The Synchronicity Tour began in Chicago, Illinois in July 1983 at the original Comiskey Park, and on 18 August the band played in front of 70,000 in Shea Stadium, New York. They played throughout the UK in December 1983, including four sold out nights at London's Wembley Arena, and the tour ended in Melbourne, Australia in March 1984 at the Melbourne Showgrounds (the final concert featured Sunny Boys, Australian Crawl and Bryan Adams, with the Police topping the bill). Sting's look, dominated by his orange-coloured hair (a result from his role in Dune) and tattered clothing, both of which were emphasised in the music videos from the album, carried over into the set for the concert. Except for "King of Pain", the singles were accompanied by music videos directed by Godley & Creme. According to Billboard and Guinness' British Hit Singles & Albums the album became a No. 1 album in both the UK (where it debuted at No. 1) and the US. It stayed at No. 1 in the UK for two weeks and in the US for seventeen weeks. It was nominated for Grammy Awards for Album of the Year, but lost to Michael Jackson's Thriller. "Every Breath You Take" won the Grammy for Song of the Year, beating Jackson's "Billie Jean". "Every Breath You Take" also won the Grammy for Best Pop Performance by a Duo or Group with Vocal, while "Synchronicity II" won the Grammy for Best Rock Performance by a Duo or Group with Vocal. "Every Breath You Take" also won the American Video Award for Best Group video, and the song won two Ivor Novello Awards in the categories Best Song Musically and Lyrically and Most Performed Work from the British Academy of Songwriters, Composers and Authors. CANNOTANSWER | 18 August the band played in front of 70,000 in Shea Stadium, New York. They played throughout the UK in December 1983, | The Police were an English rock band formed in London in 1977. For most of their history the line-up consisted of primary songwriter Sting (lead vocals, bass guitar), Andy Summers (guitar) and Stewart Copeland (drums, percussion). The Police became globally popular in the late 1970s and early 1980s. Emerging in the British new wave scene, they played a style of rock influenced by punk, reggae, and jazz.
Their 1978 debut album, Outlandos d'Amour, reached No. 6 on the UK Albums Chart on the strength of the singles "Roxanne" and "Can't Stand Losing You". Their second album, Reggatta de Blanc (1979), became the first of four consecutive No. 1 studio albums in the UK and Australia; its first two singles, "Message in a Bottle" and "Walking on the Moon", became their first UK number ones. Their next two albums, Zenyatta Mondatta (1980) and Ghost in the Machine (1981), led to further critical and commercial success with two songs, "Don't Stand So Close to Me" and "Every Little Thing She Does Is Magic", becoming UK number-one singles and Top 5 hits in other countries; the latter album and single were their breakthrough into the US as both reached the Top 3 there.
Their final studio album, Synchronicity (1983), was No. 1 in the UK, Canada, Australia, Italy and the US, selling over 8 million copies in the US. Its lead single, "Every Breath You Take", became their fifth UK number one, and only US number one. During this time, the band were considered one of the leaders of the Second British Invasion of the US; in 1983 Rolling Stone labelled them "the first British New Wave act to break through in America on a grand scale, and possibly the biggest band in the world." The Police disbanded in 1986, but reunited in early 2007 for a one-off world tour that ended in August 2008. They were the world's highest-earning musicians in 2008, due to their reunion tour.
The Police have sold over 75 million records, making them one of the best-selling bands of all time. The band won a number of music awards, including six Grammy Awards, two Brit Awards—winning Best British Group once, and an MTV Video Music Award. In 2003, they were inducted into the Rock and Roll Hall of Fame. Four of their five studio albums appeared on Rolling Stones list of the "500 Greatest Albums of All Time". The band were included among both Rolling Stones and VH1's lists of the "100 Greatest Artists of All Time".
History
1977: Formation
In late November 1976, while on tour with the British progressive rock band Curved Air in Newcastle upon Tyne, in the northeast of England, the band's American drummer, Stewart Copeland, met and exchanged phone numbers with ambitious singer-bassist (and former schoolteacher) Gordon Sumner a.k.a. Sting (so nicknamed because of his habit of wearing a black-and-yellow striped sweater resembling a wasp), who at the time was playing in a jazz-rock fusion band called Last Exit. On 12 January 1977, Sting relocated to London and, on the day of his arrival, sought out Copeland for a jam session.
Curved Air had recently split up and Copeland, inspired by the contemporary punk rock movement, was eager to form a new band to join the burgeoning London punk scene. While less keen, Sting acknowledged the commercial opportunities, so they formed The Police as a trio, with Corsican guitarist Henry Padovani recruited as the third member. After their debut concert on 1 March 1977 at Alexander's in Newport, Wales (which lasted only ten minutes), the group played London pubs and Punk clubs touring as backing band and support act for Cherry Vanilla and for Wayne County & the Electric Chairs. On 1 May 1977, The Police released on Illegal Records their debut single "Fall Out," recorded at Pathway Studios in Islington, North London on 12 February 1977 (a couple of weeks before the band's debut live performance), with a budget of £150. This is the only Police recording featuring Henry Padovani. Mick Jagger reviewed the single in Sounds magazine.
Also in May 1977, former Gong musician Mike Howlett invited Sting to join him in the band project Strontium 90. The drummer Howlett had in mind, Chris Cutler, was unavailable, so Sting took Copeland. The band's fourth member was guitarist Andy Summers. A decade older than Sting and Copeland, Summers was a music industry veteran who had played with Eric Burdon and the Animals and Kevin Ayers among others. Strontium 90 performed at a Gong reunion concert in Paris on 28 May 1977, and played at a London club (under the name of "the Elevators") in July. The band also recorded several demo tracks: these were released (along with live recordings and an early version of "Every Little Thing She Does Is Magic") 20 years later on the archive album Strontium 90: Police Academy.
Summers's musicality impressed Sting, who was becoming frustrated with Padovani's rudimentary abilities and the limitations they imposed on The Police's potential. Shortly after the Strontium 90 gig, Sting approached Summers to join the band. He agreed, on the condition the band remain a trio, with him replacing Padovani. Restrained by loyalty, Copeland and Sting resisted the idea, and The Police carried on as a four-piece version. However, they only performed live twice: on 25 July 1977 at the Music Machine in London and on 5 August at the Mont de Marsan Punk Festival. Shortly after these two gigs (and an aborted recording session with ex-Velvet Underground member John Cale as producer on 10 August), Summers delivered an ultimatum to the band and Padovani was dismissed leaving him free to join Wayne County & The Electric Chairs. The effect of Summers's arrival was instant: Copeland said: "One by one, Sting's songs had started coming in, and when Andy joined, it opened up new numbers of Sting's we could do, so the material started to get a lot more interesting and Sting started to take a lot more interest in the group."
The Police's power trio line-up of Copeland, Sting, and Summers performed for the first time on 18 August 1977 at Rebecca's club in Birmingham in the West Midlands. A trio was unusual for the time, and this line-up endured for the rest of the band's history. Few punk bands were three-pieces, while contemporary bands pursuing progressive rock, symphonic rock and other sound trends usually expanded their line-ups with support players. The musical background of all three players may have made them suspect to punk purists, with music critic Christopher Gable stating,
The band were also able to draw on influences from reggae to jazz to progressive and pub rock. While still maintaining the main band and attempting to win over punk audiences, Police members continued to moonlight within the art rock scene. In late 1977 and early 1978, Sting and Summers recorded and performed as part of an ensemble led by German experimental composer Eberhard Schoener; Copeland also joined for a time. These performances resulted in three albums, each of them an eclectic mix of rock, electronica and jazz. Various appearances by the Schoener outfit on German television made the German public aware of Sting's unusual high-pitched voice, and helped pave the way for The Police's later popularity.
The bleached-blond hair that became a band trademark happened by accident. In February 1978, the band, desperate for money, was asked to do a commercial for Wrigley's Spearmint chewing gum (directed by Tony Scott) on the condition they dye their hair blond. The commercial was shot with the band, but was shelved and never aired.
1977–1978: Recording contract and Outlandos d'Amour
Copeland's older brother Miles was initially sceptical of the inclusion of Summers in the band, fearing it would undermine their punk credibility, and reluctantly agreed to provide £1,500 to finance The Police's first album. Recording Outlandos d'Amour was difficult, as the band was working on a small budget, with no manager or record deal. It was recorded during off-peak hours at the Surrey Sound Studios in Leatherhead, Surrey, a converted recording facility above a dairy which was run by brothers Chris and Nigel Gray.
During one of his periodic studio visits, Miles heard "Roxanne" for the first time at the end of a session. Where he had been less enthusiastic about the band's other songs, the elder Copeland was immediately struck by the track, and quickly got The Police a record deal with A&M Records on the strength of it. "Roxanne" was issued as a single in the spring of 1978, while other album tracks were still being recorded, but it failed to chart. It also failed to make the BBC's playlist, which the band attributed to the song's depiction of prostitution. A&M consequently promoted the single with posters claiming "Banned by the BBC", though it was never really banned, just not play-listed. Copeland later admitted, "We got a lot of mileage out of it being supposedly banned by the BBC."
The Police made their first television appearance in October 1978, on BBC2's The Old Grey Whistle Test to promote the release of Outlandos d'Amour. Though "Roxanne" was never banned, the BBC did ban the second single from Outlandos d'Amour, "Can't Stand Losing You". This was due to the single's cover, which featured Copeland hanging himself over an ice block being melted by a portable radiator. The single became a minor chart hit, The Police's first, peaking at No. 42 in the UK. The follow-up single, "So Lonely", issued in November 1978, failed to chart. In February 1979, "Roxanne" was issued as a single in North America, where it was warmly received on radio despite the subject matter. The song peaked at No. 31 in Canada and No. 32 in the US, spurring a UK re-release of it in April. The band performed "Roxanne" on BBC1's Top of the Pops, and the re-issue of the song finally gained the band widespread recognition in the UK when it peaked at No. 12 on the UK Singles Chart.
The group's UK success led to gigs in the US at the famous New York City club CBGB, The Rathskeller (The RAT) in Boston and at The Chance in Poughkeepsie, New York, from which "Roxanne" finally debuted on US radio on WPDH, and a gruelling 1979 North American tour in which the band drove themselves and their equipment around the country in a Ford Econoline van. That summer, "Can't Stand Losing You" was also re-released in the UK, becoming a substantial hit, peaking at No. 2. The group's first single, "Fall Out", was reissued in late 1979, peaking at No. 47 in the UK.
1979: Reggatta de Blanc
In October 1979, the group released their second album, Reggatta de Blanc, which topped the UK Albums Chart and became the first of four consecutive UK No. 1 studio albums. The album spawned the hit singles "Message in a Bottle" (No. 1 UK, No. 2 Canada, No. 5 Australia) and "Walking on the Moon" (No. 1 UK). The album's singles failed to enter the US top 40, but Reggatta de Blanc still reached No. 25 on the US album charts.
The band's first live performance of "Message in a Bottle" was on the BBC's television show Rock Goes to College filmed at Hatfield Polytechnic College in Hertfordshire. The instrumental title track "Reggatta de Blanc" won the Grammy Award for Best Rock Instrumental Performance. In February 1980, the single "So Lonely" was reissued in the UK. Originally a non-charting flop when first issued in late 1978, upon re-release the track became a UK top 10 hit, peaking at No. 6.
In March 1980, the Police began their first world tour, which included places that had seldom hosted foreign performers—including Mexico, India, Taiwan, Hong Kong, Greece and Egypt. The tour was subsequently documented in the film The Police Around the World (1982), directed by Kate and Derek Burbidge, which contains footage shot by Annie Nightingale originally intended for a BBC production The Police in the East.
In May 1980, A&M in the UK released Six Pack, a package containing the five previous A&M singles (not including "Fall Out") in their original sleeves plus a mono alternate take of the album track "The Bed's Too Big Without You" backed with a live version of "Truth Hits Everybody". It reached No. 17 in the UK Singles Chart (although chart regulations introduced later in the decade would have classed it as an album).
1980–1981: Zenyatta Mondatta
Pressured by their record company for a new record and a prompt return to touring, the Police released their third album, Zenyatta Mondatta, in October 1980. The album was recorded in a three-week period in the Netherlands for tax reasons. The album gave the group their third UK No. 1 hit, "Don't Stand So Close to Me" (the UK's best-selling single of 1980) and another hit single, "De Do Do Do, De Da Da Da", both of which reached No. 10 in the US.
While the three band members and co-producer Nigel Gray all expressed immediate regret over the rushed recording for the album, which was finished at 4 a.m. on the day the band began their world tour, the album received high praise from critics. The instrumental "Behind My Camel", written by Andy Summers, won the band a Grammy for Best Rock Instrumental Performance, while "Don't Stand So Close to Me" won the Grammy for Best Rock Vocal Performance for Duo or Group.
1981–1982: Ghost in the Machine and Brimstone and Treacle
The Police's fourth album, Ghost in the Machine, co-produced by Hugh Padgham, was recorded at Air Studios on the Caribbean island of Montserrat, with the exception of "Every Little Thing She Does Is Magic" which was recorded at Le Studio at Morin Heights, Quebec, Canada, and released in 1981. It featured thicker sounds, layered saxophones, and vocal textures. It spawned the hit singles "Every Little Thing She Does Is Magic" (featuring pianist Jean Roussel), their fourth UK No. 1 (No. 3 in the U.S.), "Invisible Sun", and "Spirits in the Material World". As the band was unable to agree on a cover picture, the album cover had three red pictographs, digital likenesses of the three band members in the style of segmented LED displays, set against a black background. In the 1980s, Sting and Summers became tax exiles and moved to Ireland (Sting to Roundstone, County Galway, and Summers to Kinsale in County Cork) while Copeland, an American, remained in England. The group opened and closed the 1981 concert film, Urgh! A Music War. The film, which captured the music scene in the wake of punk, was masterminded by Stewart Copeland's brothers Ian and Miles. The film had a limited release but developed a mythic reputation over the years.
At the 1982 Brit Awards in London, the Police received the award for Best British Group. After the Ghost in the Machine Tour concluded in 1982, the group took a sabbatical and each member pursued outside projects. By this time, Sting was becoming a major star, and he established a career beyond the Police by branching out into acting. Back in 1979, he had made a well-received debut as the "Ace Face" in the British drama film Quadrophenia, a film loosely based on The Who's rock opera, followed by a role as a mechanic in love with Eddie Cochran's music in Chris Petit's Radio On. In 1982, Sting furthered his acting career by co-starring in the Richard Loncraine film Brimstone and Treacle. He also had a minor solo hit in the United Kingdom with the movie's theme song, a cover of the 1929 hit "Spread a Little Happiness" (which appeared on the Brimstone & Treacle soundtrack, along with three new Police tracks, "How Stupid Mr Bates", "A Kind of Loving", and "I Burn for You"). Over 1981 and 1982, Summers recorded his first album with Robert Fripp, I Advance Masked.
In 1983, Stewart Copeland composed the musical score for Francis Ford Coppola's film Rumble Fish. The single "Don't Box Me In (theme From Rumble Fish)", a collaboration between Copeland and singer-songwriter Stan Ridgway (of the band Wall of Voodoo) received significant airplay upon release of the film that year. Also in 1983, Sting filmed his first big-budget movie role-playing Feyd-Rautha in David Lynch's Dune. As Sting's fame rose, his relationship with Stewart Copeland deteriorated. Their increasingly strained partnership was further stretched by the pressures of worldwide publicity and fame, conflicting egos, and their financial success. Meanwhile, both Sting's and Summers's marriages failed.
1983: Synchronicity and "The Biggest Band in the World"
In 1983, the Police released their last studio album, Synchronicity, which spawned the hit singles "Every Breath You Take", "Wrapped Around Your Finger", "King of Pain", and "Synchronicity II". By that time, several critics deemed them "the biggest rock band in the world". Recording the album, however, was a tense affair with increasing disputes among the band. The three members recorded their contributions individually in separate rooms and over-dubbed at different times.
The Synchronicity Tour began in Chicago, Illinois in July 1983 at the original Comiskey Park, and on 18 August the band played in front of 70,000 in Shea Stadium, New York. Near the end of the concert, Sting announced: "We'd like to thank the Beatles for lending us their stadium." Looking back, Copeland states, "Playing Shea Stadium was big because, even though I'm a septic tank (rhyming slang for 'Yank'), The Police is an English band and I'm a Londoner – an American Londoner – so it felt like conquering America." They played throughout the UK in December 1983, including four sold out nights at London's Wembley Arena, and the tour ended in Melbourne, Australia on 4 March 1984 at the Melbourne Showgrounds (the final concert featured Sunnyboys, Kids In The Kitchen, Bryan Adams and Australian Crawl, with the Police topping the bill). Sting's look, dominated by his orange-coloured hair (a result of his role in Dune) and tattered clothing, both of which were emphasised in the music videos from the album, carried over into the set for the concert. Except for "King of Pain", the singles were accompanied by music videos directed by Godley & Creme.
Synchronicity became a No. 1 album in both the UK (where it debuted at No. 1) and the US. It stayed at No. 1 in the UK for two weeks and in the US for seventeen weeks. It was nominated for Grammy Awards for Album of the Year, but lost to Michael Jackson's Thriller. "Every Breath You Take" won the Grammy for Song of the Year, beating Jackson's "Billie Jean". "Every Breath You Take" also won the Grammy for Best Pop Performance by a Duo or Group with Vocal, while the album won the Grammy for Best Rock Performance by a Duo or Group with Vocal. "Every Breath You Take" also won the American Video Award for Best Group video, and the song won two Ivor Novello Awards in the categories Best Song Musically and Lyrically and Most Performed Work from the British Academy of Songwriters, Composers, and Authors.
1984–1986: Hiatus, aborted sixth studio album
During the group's 1983 Shea Stadium concert, Sting felt performing at the venue was "Everest" and decided to pursue a solo career, according to the documentary The Last Play at Shea. After the Synchronicity tour ended in March 1984, the band went on hiatus while Sting recorded and toured in support of his successful solo debut LP, the jazz-influenced The Dream of the Blue Turtles, released in June 1985; Copeland recorded and filmed The Rhythmatist (1985); and Summers recorded another album with Robert Fripp (Bewitched, 1984) and the theme song for the film 2010—which was not used in the film, but included on the soundtrack album. At the 1985 Brit Awards held at London's Grosvenor Hotel on 11 February, the band received the award for Outstanding Contribution to Music. In July the same year, Sting and Copeland participated in Live Aid at Wembley Stadium, London.
In June 1986, the Police reconvened to play three concerts for the Amnesty International A Conspiracy of Hope tour. Their last performance on stage before their split was on 15 June at Giants Stadium in New Jersey. They ended their set with "Invisible Sun", bringing out Bono to sing the final verse. When they finished, they handed U2 their instruments for the all-star finale of "I Shall Be Released". As the lead singer of U2 – who themselves would soon be regarded as the biggest band in the world – Bono stated, "It was a very big moment, like passing a torch."
In July of that year, the trio reunited in the studio to record a new album. However, Copeland broke his collarbone in a fall from a horse and was unable to play the drums. As a result of the tense and short-lived reunion in the studio, "Don't Stand So Close to Me '86" was released in October 1986 as their final single and made it into the UK Top 25. It also appeared on the 1986 compilation Every Breath You Take: The Singles, which reached No. 1 in the UK album charts. A rerecorded version of "De Do Do Do De Da Da Da" was subsequently also included on the DTS-CD release of the Every Breath You Take: The Classics album in 1995. The album has sold over five million copies in the US.
Following the failed effort to record a new studio album, the Police effectively disbanded. In the liner notes to the Police's box set Message in a Box, Summers explains: "The attempt to record a new album was doomed from the outset. The night before we went into the studio Stewart broke his collarbone falling off a horse and that meant we lost our last chance of recovering some rapport just by jamming together. Anyway, it was clear Sting had no real intention of writing any new songs for the Police. It was an empty exercise."
1986–2006: Disbandment
Each band member continued with his solo career over the next 20 years. Sting continued recording and touring as a solo performer to great success. Summers recorded a number of albums, both as a solo artist and in collaboration with other musicians. Copeland became a prolific producer of movie and television soundtracks, and he recorded and toured with two new bands, Animal Logic and Oysterhead. However, a few events did bring the Police back together, albeit briefly. Summers played guitar on Sting's album ...Nothing Like the Sun (1987), a favour the singer returned by playing bass on Summers' album Charming Snakes (1989) and later singing lead vocals on "'Round Midnight" for Summers' tribute to Thelonious Monk Green Chimneys (1999). On 2 October 1991 (Sting's 40th birthday), Summers joined Sting on stage at the Hollywood Bowl during The Soul Cages Tour to perform "Walking on the Moon", "Every Breath You Take", and "Message in a Bottle". The performance was broadcast as a pay-per-view event.
On 22 August 1992, Sting married Trudie Styler in an 11th-century chapel in Wiltshire, southwest England. Summers and Copeland were invited to the ceremony and reception. Aware that all band members were present, the wedding guests pressured the trio into playing, and they performed "Roxanne" and "Message in a Bottle". Copeland said later that "after about three minutes, it became 'the thing' again". In 1995 A&M released Live!, a double live album produced by Summers featuring two complete concerts—one recorded on 27 November 1979 at the Orpheum Theatre in Boston during the Reggatta de Blanc tour, and one recorded on 2 November 1983 at the Omni in Atlanta, Georgia, during the Synchronicity Tour (the latter was also documented in the VHS tape Synchronicity Concert in 1984).
On 10 March 2003, the Police were inducted into the Rock and Roll Hall of Fame and performed "Roxanne", "Message in a Bottle", and "Every Breath You Take" live, as a group (the last song was performed alongside Steven Tyler, Gwen Stefani, and John Mayer). In the autumn of 2003, Sting released his autobiography, Broken Music.
In 2004, Copeland and Summers joined Incubus onstage at KROQ's Almost Acoustic Christmas concert in Los Angeles performing "Roxanne" and "Message in a Bottle". In 2004, Henry Padovani released an album with the participation of Copeland and Sting on one track, reuniting the original Police line-up for the first time since 1977. Also in 2004, Rolling Stone ranked the Police No. 70 on their list of the 100 Greatest Artists of All Time.
In 2006, Stewart Copeland released a rockumentary about the band called Everyone Stares: The Police Inside Out, based on Super-8 filming he did when the band was touring and recording in the late 1970s and early 1980s. In October 2006, Andy Summers released One Train Later, an autobiographical memoir detailing his early career and time with the band.
2007–2008: Reunion tour
In early 2007, reports surfaced the trio would reunite for a tour to mark the Police's 30th anniversary, more than 20 years since their split in 1986. On 22 January 2007, the punk wave magazine Side-Line broke the story the Police would reunite for the Grammys, and would perform "Roxanne". Side-Line also stated the Police were to embark on a massive world tour. Billboard magazine later confirmed the news, quoting Summers' 2006 statement as to how the band could have continued post-Synchronicity: "The more rational approach would have been, 'OK, Sting, go make a solo record, and let's get back together in two or three years.' I'm certain we could have done that. Of course we could have. We were definitely not in a creative dry space. We could have easily carried on, and we could probably still be there. That wasn't to be our fate. It went in another way. I regret we never paid it off with a last tour." The band opened the 49th Annual Grammy Awards on 11 February 2007 in Los Angeles, announcing, "Ladies and gentlemen, we are The Police, and we're back!" before launching into "Roxanne".
A&M, the band's record company, promoted the 2007–08 reunion tour as the 30th anniversary of the band's formation and of the release of their first single for A&M, "Roxanne". The Police Reunion Tour began in late May 2007 with two shows in Vancouver. Stewart Copeland gave a scathing review of the show on his own website, which the press interpreted as a feud occurring two gigs into the tour. Copeland later apologised for besmirching "my buddy Sting," and chalked up the comments to "hyper self-criticism".
Tickets for the British leg of the tour sold out within 30 minutes, and the band played two nights at Twickenham Stadium on 8 and 9 September. On 29 and 30 September 2007, Henry Padovani joined the group on stage for the final encore of their two shows in Paris, playing the song "Next to You" as a four-piece band. In October 2007, the group played the largest gig of the reunion tour in Dublin in front of 82,000 fans. The group headlined the TW Classic festival in Werchter, Belgium on 7 June 2008. They also headlined the last night of the 2008 Isle of Wight Festival on 15 June, the Heineken Jammin' Festival in Venice on 23 June and the Sunday night at Hard Rock Calling (previously called Hyde Park Calling) in London on 29 June.
In February 2008, the band announced that, when the tour finished, they would break up again. "There will be no new album, no big new tour," said Sting. "Once we're done with our reunion tour, that's it for The Police." The final show of the tour was on 7 August 2008 at Madison Square Garden in New York City. The band performed the opening song, "Message in a Bottle", with the brass band of the New York Metropolitan Police Corp. Later, they performed "Sunshine of Your Love" and "Purple Haze" as a tribute to the rock trios that preceded them: Cream and The Jimi Hendrix Experience. While announcing the show, the group also donated $1 million to New York Mayor Michael Bloomberg's initiative to plant one million trees in the city by 2017.
The world's highest-earning musicians in 2008, the tour sold 3.7 million tickets and grossed $358 million, making it the third-highest-grossing tour of all time at its conclusion. On 11 November 2008, the Police released Certifiable: Live in Buenos Aires, a Blu-ray, DVD and CD set of the band's two performances in Buenos Aires, Argentina on the tour (1 and 2 December 2007). Those sets with two DVDs also included a documentary shot by Copeland's son Jordan entitled Better Than Therapy as well as some photographs of Buenos Aires taken by Andy Summers.
Musical style
The Police started as a punk rock band, but soon expanded their music vocabulary to incorporate reggae, pop and new wave sonorities to their sound. In his retrospective assessment Stephen Thomas Erlewine of AllMusic argues that the notion of the Police as a punk rock band was true only "in the loosest sense of the term". He states the band's "nervous, reggae-injected pop/rock was punky" and had a "punk spirit" but it "wasn't necessarily punk". A "power trio," The Police are known as a new wave and post-punk band, with many songs falling in the reggae-fusion genre.
Legacy
In 2003, the Police were inducted into the Rock and Roll Hall of Fame in their first year of eligibility. In 2004, Rolling Stone ranked the Police number 70 on their list of the 100 Greatest Artists of All Time, and in 2010, the band were ranked 40th on VH1's 100 Greatest Artists of All Time. Four of the band's five studio albums appeared on Rolling Stone'''s 2003 list of the 500 Greatest Albums of All Time: Ghost in the Machine (number 322), Reggatta de Blanc (number 369), Outlandos d'Amour (number 434), and Synchronicity (number 455). In 2008, Q magazine named Synchronicity among the top 10 British Albums of the 1980s.
The primary songwriter for the Police, Sting was inducted into the Songwriters Hall of Fame in 2002. In Rolling Stone's 2004 list of the 500 greatest songs of all time, "Every Breath You Take" ranked number 84 (the highest new wave song on the list), and "Roxanne" ranked number 388. "Message in a Bottle" ranked number 65 in the magazine's 2008 list of the 100 greatest guitar songs. Q magazine named "Every Breath You Take" among the top 10 British Songs of the 1980s, and in a UK-wide poll by ITV in 2015 it was voted The Nation's Favourite 80s Number One. In May 2019, "Every Breath You Take" was recognized by BMI as being the most performed song in their catalogue, overtaking "You've Lost That Lovin' Feelin'" performed by the Righteous Brothers.
With a string of UK number one albums, the Police were among the most commercially successful British bands of the early 1980s, and with success overseas they are typically regarded as in both the vanguard of the Second British Invasion, and the new wave movement. With a history of playing to large audiences (such as Shea Stadium in 1983), the Police were a featured artist in the stadium rock episode of the 2007 BBC/VH1 series Seven Ages of Rock along with Queen, Led Zeppelin, U2 and Bruce Springsteen. Despite the band's well-documented disagreements with one another, Summers confirmed in 2015 that Sting, Copeland and he are good friends. Summers said, "Despite the general press thing about 'God, they hate each other', it's actually not true, we're very supportive of one another."
DiscographyOutlandos d'Amour (1978)Reggatta de Blanc (1979)Zenyatta Mondatta (1980)Ghost in the Machine (1981)Synchronicity (1983)
Concert tours
The Police Around the World Tour (1977–1980)
Zenyatta Mondatta Tour (1980–1981)
Ghost in the Machine Tour (1981–1982)
Synchronicity Tour (1983–1984)
The Police Reunion Tour (2007–2008)
Band members
Stewart Copeland – drums, percussion, backing and lead vocals, keyboards, guitars (1977–1986, 2003, 2007–2008)
Sting – lead and backing vocals, bass guitar, double bass, keyboards, saxophone, harmonica (1977–1986, 2003, 2007–2008)
Andy Summers – guitars, backing and lead vocals, keyboards (1977–1986, 2003, 2007–2008)
Henry Padovani – guitar (1977; 2007 reunion tour finale, Paris with Sting, Summers, and Copeland)
Awards and nominations
Brit Awards
1982: Best British Group
1985: Outstanding Contribution to Music
Grammy Awards
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!scope="row" | 1981
| "Reggatta de Blanc"
| rowspan= "2" | Best Rock Instrumental Performance
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!scope="row" rowspan= "2" | 1982
| "Behind My Camel"
|
|-
| "Don't Stand So Close to Me"
| Best Rock Performance by a Duo or Group with Vocal
|
|-
!scope="row" rowspan= "4" | 1984
| rowspan= "2" | Synchronicity| Album of the Year
|
|-
| Best Rock Performance by a Duo or Group with Vocal
|
|-
| rowspan= "2" | "Every Breath You Take"
| Record of the Year
|
|-
| Best Pop Performance by a Duo or Group with Vocal
|
|-
!scope="row" | 1986
| The Police Synchronicity Concert
| Best Music Video, Long Form
|
|-
Juno Awards
|-
| rowspan="2" | 1984
| Synchronicity| International Album of the Year
|
People's Choice Awards
|-
| 2008
| Themselves
| Favorite Reunion Tour
|
Rock and Roll Hall of Fame
The Police were inducted into the Rock and Roll Hall of Fame on 10 March 2003.
Other lists
Ranked No.70 on Rolling Stone''s Immortals, the 100 Greatest Artists of All Time.
Ranked No.40 on VH1's List of 100 Greatest Artists of All Time.
See also
List of best-selling music artists
List of highest-grossing concert tours
List of new wave artists
List of reggae rock artists
References
Citations
Sources
External links
thepolice.com
thepolicetour.com
1977 establishments in England
1977 in London
A&M Records artists
Brit Award winners
British musical trios
English new wave musical groups
Grammy Award winners
Juno Award for International Album of the Year winners
Musical groups established in 1977
Musical groups reestablished in 2007
Musical groups disestablished in 2008
Musical groups from London
Reggae rock groups | false | [
"The Jackson 5 are an American music group, formed in 1964 by the Jackson family brothers Jackie, Tito, Jermaine, Marlon, and Michael. The brothers first invitation to perform was in Glen Park in 1965, with other early concerts at Theodore Roosevelt College and Career Academy, Gilroy Stadium, Gary’s Memorial Auditorium, Regal Theater, Chicago and Apollo Theater, Harlem in 1967.\n\nThe quintet's first concert tour was in the United States, where they performed in cities such as Boston, Cincinnati and New York City throughout the final quarter of 1970. The brothers remained in their homeland for two more US tours, before successfully expanding to Europe in 1971 and the rest of world the following year.\n\nFollowing a move from Motown to Epic Records, the group was renamed The Jacksons, and embarked on another tour of Europe, where they performed in front of Queen Elizabeth II. After their interim concert series in 1978, the siblings proceeded with the Destiny Tour, a promotional platform for their similarly named album. Their 1981 36-city circulation of the United States—the Triumph Tour—came next. The Jacksons' final tour together was in 1984, following the release of two albums: the band's Victory and Michael Jackson's Thriller. The Victory Tour spanned 55 performances in the United States and Canada and grossed over $75 million.\n\nHaving toured with his brothers since the early 1970s, Michael Jackson began his first solo world tour on September 12, 1987, in Tokyo, Japan. Attracting over 4 million people, including royalty, the Bad Tour proved to be successful, becoming the most-highly attended and highest-earning tour of all time. The follow-up concert series—the Dangerous World Tour of 1992–1993—was also attended by millions. In 1996, Jackson returned with the HIStory World Tour, an 82 run of concerts that concluded the following year. The tour was attended by more than 4.5 million fans.\n\nTours\n\nThe Jackson 5\n\nThe Jacksons\n\nMichael Jackson\n\nThe Jacksons\n\nCountries covered\n\nThe HIStory World Tour covered 35 countries, with the Unity Tour covering 19 countries. Between all the group and solo tours, the brothers have played concerts in more than 50 countries on 6 continents (ie everywhere except Antarctica).\nSome of the countries include United States, United Kingdom, Canada, Brazil, Australia, India, and Russia.\n\nBand members\n\nReferences\nFootnotes\n\nBibliography\n\nGeorge, Nelson (2004). Michael Jackson: The Ultimate Collection booklet. Sony BMG.\n\n \n \nJackson, Michael",
"iKON 2018 Continue Tour is the first world tour by South Korean boy band iKON, in support of second studio album Return. The tour is set to visit South Korea, Taiwan, Thailand, Malaysia, Singapore, Philippines, Hong Kong, Indonesia and Australia, with more countries to be announced. The tour began on August 18, 2018 in Seoul at KSPO Dome\n\nBackground\nOn July 2, it was announced by YG Entertainment that iKON will held an Asia tour and will visit eight cities. It marks the group second Asia tour after their 2016 iKoncert 2016: Showtime Tour, during the time they did two years intensive touring mostly in Japan as they gathered around 800,000 fans. A series of teasers were released in July, revealed members thoughts on the upcoming world tour and reveling the concept of the tour is A Road with No End, which indicates iKON's future path.\n\nOn August, iKON announced that the tour will visit Australia for the first time, with two shows in Sydney and Melbourne.\n\nConcerts dates\n\nReferences\n\n2018 concert tours\n2019 concert tours\nConcert tours of Asia\nIKon concert tours"
]
|
[
"The Police",
"1983: Synchronicity and \"The Biggest Band in the World\"",
"What is Synchronicity?",
"In 1983, the Police released their last studio album, Synchronicity,",
"Was it well received?",
"According to Billboard and Guinness' British Hit Singles & Albums the album became a No. 1 album in both the UK (where it debuted at No. 1)",
"Did they tour to promote the album?",
"The Synchronicity Tour began in Chicago, Illinois in July 1983 at the original Comiskey Park,",
"Did they tour in other countries?",
"18 August the band played in front of 70,000 in Shea Stadium, New York. They played throughout the UK in December 1983,"
]
| C_08763f19d12747cba208109797436417_0 | Did they receive any awards with this album? | 5 | Did the Police receive any awards with the album, Synchronicity? | The Police | In 1983, the Police released their last studio album, Synchronicity, which spawned the hit singles "Every Breath You Take", "Wrapped Around Your Finger", "King of Pain", and "Synchronicity II". By that time, several critics deemed them "the biggest rock band in the world." Recording the album, however, was a tense affair with increasing disputes among the band. The three members recorded their contributions individually in separate rooms and over-dubbed at different times. The Synchronicity Tour began in Chicago, Illinois in July 1983 at the original Comiskey Park, and on 18 August the band played in front of 70,000 in Shea Stadium, New York. They played throughout the UK in December 1983, including four sold out nights at London's Wembley Arena, and the tour ended in Melbourne, Australia in March 1984 at the Melbourne Showgrounds (the final concert featured Sunny Boys, Australian Crawl and Bryan Adams, with the Police topping the bill). Sting's look, dominated by his orange-coloured hair (a result from his role in Dune) and tattered clothing, both of which were emphasised in the music videos from the album, carried over into the set for the concert. Except for "King of Pain", the singles were accompanied by music videos directed by Godley & Creme. According to Billboard and Guinness' British Hit Singles & Albums the album became a No. 1 album in both the UK (where it debuted at No. 1) and the US. It stayed at No. 1 in the UK for two weeks and in the US for seventeen weeks. It was nominated for Grammy Awards for Album of the Year, but lost to Michael Jackson's Thriller. "Every Breath You Take" won the Grammy for Song of the Year, beating Jackson's "Billie Jean". "Every Breath You Take" also won the Grammy for Best Pop Performance by a Duo or Group with Vocal, while "Synchronicity II" won the Grammy for Best Rock Performance by a Duo or Group with Vocal. "Every Breath You Take" also won the American Video Award for Best Group video, and the song won two Ivor Novello Awards in the categories Best Song Musically and Lyrically and Most Performed Work from the British Academy of Songwriters, Composers and Authors. CANNOTANSWER | It was nominated for Grammy Awards for Album of the Year, but lost to Michael Jackson's Thriller. | The Police were an English rock band formed in London in 1977. For most of their history the line-up consisted of primary songwriter Sting (lead vocals, bass guitar), Andy Summers (guitar) and Stewart Copeland (drums, percussion). The Police became globally popular in the late 1970s and early 1980s. Emerging in the British new wave scene, they played a style of rock influenced by punk, reggae, and jazz.
Their 1978 debut album, Outlandos d'Amour, reached No. 6 on the UK Albums Chart on the strength of the singles "Roxanne" and "Can't Stand Losing You". Their second album, Reggatta de Blanc (1979), became the first of four consecutive No. 1 studio albums in the UK and Australia; its first two singles, "Message in a Bottle" and "Walking on the Moon", became their first UK number ones. Their next two albums, Zenyatta Mondatta (1980) and Ghost in the Machine (1981), led to further critical and commercial success with two songs, "Don't Stand So Close to Me" and "Every Little Thing She Does Is Magic", becoming UK number-one singles and Top 5 hits in other countries; the latter album and single were their breakthrough into the US as both reached the Top 3 there.
Their final studio album, Synchronicity (1983), was No. 1 in the UK, Canada, Australia, Italy and the US, selling over 8 million copies in the US. Its lead single, "Every Breath You Take", became their fifth UK number one, and only US number one. During this time, the band were considered one of the leaders of the Second British Invasion of the US; in 1983 Rolling Stone labelled them "the first British New Wave act to break through in America on a grand scale, and possibly the biggest band in the world." The Police disbanded in 1986, but reunited in early 2007 for a one-off world tour that ended in August 2008. They were the world's highest-earning musicians in 2008, due to their reunion tour.
The Police have sold over 75 million records, making them one of the best-selling bands of all time. The band won a number of music awards, including six Grammy Awards, two Brit Awards—winning Best British Group once, and an MTV Video Music Award. In 2003, they were inducted into the Rock and Roll Hall of Fame. Four of their five studio albums appeared on Rolling Stones list of the "500 Greatest Albums of All Time". The band were included among both Rolling Stones and VH1's lists of the "100 Greatest Artists of All Time".
History
1977: Formation
In late November 1976, while on tour with the British progressive rock band Curved Air in Newcastle upon Tyne, in the northeast of England, the band's American drummer, Stewart Copeland, met and exchanged phone numbers with ambitious singer-bassist (and former schoolteacher) Gordon Sumner a.k.a. Sting (so nicknamed because of his habit of wearing a black-and-yellow striped sweater resembling a wasp), who at the time was playing in a jazz-rock fusion band called Last Exit. On 12 January 1977, Sting relocated to London and, on the day of his arrival, sought out Copeland for a jam session.
Curved Air had recently split up and Copeland, inspired by the contemporary punk rock movement, was eager to form a new band to join the burgeoning London punk scene. While less keen, Sting acknowledged the commercial opportunities, so they formed The Police as a trio, with Corsican guitarist Henry Padovani recruited as the third member. After their debut concert on 1 March 1977 at Alexander's in Newport, Wales (which lasted only ten minutes), the group played London pubs and Punk clubs touring as backing band and support act for Cherry Vanilla and for Wayne County & the Electric Chairs. On 1 May 1977, The Police released on Illegal Records their debut single "Fall Out," recorded at Pathway Studios in Islington, North London on 12 February 1977 (a couple of weeks before the band's debut live performance), with a budget of £150. This is the only Police recording featuring Henry Padovani. Mick Jagger reviewed the single in Sounds magazine.
Also in May 1977, former Gong musician Mike Howlett invited Sting to join him in the band project Strontium 90. The drummer Howlett had in mind, Chris Cutler, was unavailable, so Sting took Copeland. The band's fourth member was guitarist Andy Summers. A decade older than Sting and Copeland, Summers was a music industry veteran who had played with Eric Burdon and the Animals and Kevin Ayers among others. Strontium 90 performed at a Gong reunion concert in Paris on 28 May 1977, and played at a London club (under the name of "the Elevators") in July. The band also recorded several demo tracks: these were released (along with live recordings and an early version of "Every Little Thing She Does Is Magic") 20 years later on the archive album Strontium 90: Police Academy.
Summers's musicality impressed Sting, who was becoming frustrated with Padovani's rudimentary abilities and the limitations they imposed on The Police's potential. Shortly after the Strontium 90 gig, Sting approached Summers to join the band. He agreed, on the condition the band remain a trio, with him replacing Padovani. Restrained by loyalty, Copeland and Sting resisted the idea, and The Police carried on as a four-piece version. However, they only performed live twice: on 25 July 1977 at the Music Machine in London and on 5 August at the Mont de Marsan Punk Festival. Shortly after these two gigs (and an aborted recording session with ex-Velvet Underground member John Cale as producer on 10 August), Summers delivered an ultimatum to the band and Padovani was dismissed leaving him free to join Wayne County & The Electric Chairs. The effect of Summers's arrival was instant: Copeland said: "One by one, Sting's songs had started coming in, and when Andy joined, it opened up new numbers of Sting's we could do, so the material started to get a lot more interesting and Sting started to take a lot more interest in the group."
The Police's power trio line-up of Copeland, Sting, and Summers performed for the first time on 18 August 1977 at Rebecca's club in Birmingham in the West Midlands. A trio was unusual for the time, and this line-up endured for the rest of the band's history. Few punk bands were three-pieces, while contemporary bands pursuing progressive rock, symphonic rock and other sound trends usually expanded their line-ups with support players. The musical background of all three players may have made them suspect to punk purists, with music critic Christopher Gable stating,
The band were also able to draw on influences from reggae to jazz to progressive and pub rock. While still maintaining the main band and attempting to win over punk audiences, Police members continued to moonlight within the art rock scene. In late 1977 and early 1978, Sting and Summers recorded and performed as part of an ensemble led by German experimental composer Eberhard Schoener; Copeland also joined for a time. These performances resulted in three albums, each of them an eclectic mix of rock, electronica and jazz. Various appearances by the Schoener outfit on German television made the German public aware of Sting's unusual high-pitched voice, and helped pave the way for The Police's later popularity.
The bleached-blond hair that became a band trademark happened by accident. In February 1978, the band, desperate for money, was asked to do a commercial for Wrigley's Spearmint chewing gum (directed by Tony Scott) on the condition they dye their hair blond. The commercial was shot with the band, but was shelved and never aired.
1977–1978: Recording contract and Outlandos d'Amour
Copeland's older brother Miles was initially sceptical of the inclusion of Summers in the band, fearing it would undermine their punk credibility, and reluctantly agreed to provide £1,500 to finance The Police's first album. Recording Outlandos d'Amour was difficult, as the band was working on a small budget, with no manager or record deal. It was recorded during off-peak hours at the Surrey Sound Studios in Leatherhead, Surrey, a converted recording facility above a dairy which was run by brothers Chris and Nigel Gray.
During one of his periodic studio visits, Miles heard "Roxanne" for the first time at the end of a session. Where he had been less enthusiastic about the band's other songs, the elder Copeland was immediately struck by the track, and quickly got The Police a record deal with A&M Records on the strength of it. "Roxanne" was issued as a single in the spring of 1978, while other album tracks were still being recorded, but it failed to chart. It also failed to make the BBC's playlist, which the band attributed to the song's depiction of prostitution. A&M consequently promoted the single with posters claiming "Banned by the BBC", though it was never really banned, just not play-listed. Copeland later admitted, "We got a lot of mileage out of it being supposedly banned by the BBC."
The Police made their first television appearance in October 1978, on BBC2's The Old Grey Whistle Test to promote the release of Outlandos d'Amour. Though "Roxanne" was never banned, the BBC did ban the second single from Outlandos d'Amour, "Can't Stand Losing You". This was due to the single's cover, which featured Copeland hanging himself over an ice block being melted by a portable radiator. The single became a minor chart hit, The Police's first, peaking at No. 42 in the UK. The follow-up single, "So Lonely", issued in November 1978, failed to chart. In February 1979, "Roxanne" was issued as a single in North America, where it was warmly received on radio despite the subject matter. The song peaked at No. 31 in Canada and No. 32 in the US, spurring a UK re-release of it in April. The band performed "Roxanne" on BBC1's Top of the Pops, and the re-issue of the song finally gained the band widespread recognition in the UK when it peaked at No. 12 on the UK Singles Chart.
The group's UK success led to gigs in the US at the famous New York City club CBGB, The Rathskeller (The RAT) in Boston and at The Chance in Poughkeepsie, New York, from which "Roxanne" finally debuted on US radio on WPDH, and a gruelling 1979 North American tour in which the band drove themselves and their equipment around the country in a Ford Econoline van. That summer, "Can't Stand Losing You" was also re-released in the UK, becoming a substantial hit, peaking at No. 2. The group's first single, "Fall Out", was reissued in late 1979, peaking at No. 47 in the UK.
1979: Reggatta de Blanc
In October 1979, the group released their second album, Reggatta de Blanc, which topped the UK Albums Chart and became the first of four consecutive UK No. 1 studio albums. The album spawned the hit singles "Message in a Bottle" (No. 1 UK, No. 2 Canada, No. 5 Australia) and "Walking on the Moon" (No. 1 UK). The album's singles failed to enter the US top 40, but Reggatta de Blanc still reached No. 25 on the US album charts.
The band's first live performance of "Message in a Bottle" was on the BBC's television show Rock Goes to College filmed at Hatfield Polytechnic College in Hertfordshire. The instrumental title track "Reggatta de Blanc" won the Grammy Award for Best Rock Instrumental Performance. In February 1980, the single "So Lonely" was reissued in the UK. Originally a non-charting flop when first issued in late 1978, upon re-release the track became a UK top 10 hit, peaking at No. 6.
In March 1980, the Police began their first world tour, which included places that had seldom hosted foreign performers—including Mexico, India, Taiwan, Hong Kong, Greece and Egypt. The tour was subsequently documented in the film The Police Around the World (1982), directed by Kate and Derek Burbidge, which contains footage shot by Annie Nightingale originally intended for a BBC production The Police in the East.
In May 1980, A&M in the UK released Six Pack, a package containing the five previous A&M singles (not including "Fall Out") in their original sleeves plus a mono alternate take of the album track "The Bed's Too Big Without You" backed with a live version of "Truth Hits Everybody". It reached No. 17 in the UK Singles Chart (although chart regulations introduced later in the decade would have classed it as an album).
1980–1981: Zenyatta Mondatta
Pressured by their record company for a new record and a prompt return to touring, the Police released their third album, Zenyatta Mondatta, in October 1980. The album was recorded in a three-week period in the Netherlands for tax reasons. The album gave the group their third UK No. 1 hit, "Don't Stand So Close to Me" (the UK's best-selling single of 1980) and another hit single, "De Do Do Do, De Da Da Da", both of which reached No. 10 in the US.
While the three band members and co-producer Nigel Gray all expressed immediate regret over the rushed recording for the album, which was finished at 4 a.m. on the day the band began their world tour, the album received high praise from critics. The instrumental "Behind My Camel", written by Andy Summers, won the band a Grammy for Best Rock Instrumental Performance, while "Don't Stand So Close to Me" won the Grammy for Best Rock Vocal Performance for Duo or Group.
1981–1982: Ghost in the Machine and Brimstone and Treacle
The Police's fourth album, Ghost in the Machine, co-produced by Hugh Padgham, was recorded at Air Studios on the Caribbean island of Montserrat, with the exception of "Every Little Thing She Does Is Magic" which was recorded at Le Studio at Morin Heights, Quebec, Canada, and released in 1981. It featured thicker sounds, layered saxophones, and vocal textures. It spawned the hit singles "Every Little Thing She Does Is Magic" (featuring pianist Jean Roussel), their fourth UK No. 1 (No. 3 in the U.S.), "Invisible Sun", and "Spirits in the Material World". As the band was unable to agree on a cover picture, the album cover had three red pictographs, digital likenesses of the three band members in the style of segmented LED displays, set against a black background. In the 1980s, Sting and Summers became tax exiles and moved to Ireland (Sting to Roundstone, County Galway, and Summers to Kinsale in County Cork) while Copeland, an American, remained in England. The group opened and closed the 1981 concert film, Urgh! A Music War. The film, which captured the music scene in the wake of punk, was masterminded by Stewart Copeland's brothers Ian and Miles. The film had a limited release but developed a mythic reputation over the years.
At the 1982 Brit Awards in London, the Police received the award for Best British Group. After the Ghost in the Machine Tour concluded in 1982, the group took a sabbatical and each member pursued outside projects. By this time, Sting was becoming a major star, and he established a career beyond the Police by branching out into acting. Back in 1979, he had made a well-received debut as the "Ace Face" in the British drama film Quadrophenia, a film loosely based on The Who's rock opera, followed by a role as a mechanic in love with Eddie Cochran's music in Chris Petit's Radio On. In 1982, Sting furthered his acting career by co-starring in the Richard Loncraine film Brimstone and Treacle. He also had a minor solo hit in the United Kingdom with the movie's theme song, a cover of the 1929 hit "Spread a Little Happiness" (which appeared on the Brimstone & Treacle soundtrack, along with three new Police tracks, "How Stupid Mr Bates", "A Kind of Loving", and "I Burn for You"). Over 1981 and 1982, Summers recorded his first album with Robert Fripp, I Advance Masked.
In 1983, Stewart Copeland composed the musical score for Francis Ford Coppola's film Rumble Fish. The single "Don't Box Me In (theme From Rumble Fish)", a collaboration between Copeland and singer-songwriter Stan Ridgway (of the band Wall of Voodoo) received significant airplay upon release of the film that year. Also in 1983, Sting filmed his first big-budget movie role-playing Feyd-Rautha in David Lynch's Dune. As Sting's fame rose, his relationship with Stewart Copeland deteriorated. Their increasingly strained partnership was further stretched by the pressures of worldwide publicity and fame, conflicting egos, and their financial success. Meanwhile, both Sting's and Summers's marriages failed.
1983: Synchronicity and "The Biggest Band in the World"
In 1983, the Police released their last studio album, Synchronicity, which spawned the hit singles "Every Breath You Take", "Wrapped Around Your Finger", "King of Pain", and "Synchronicity II". By that time, several critics deemed them "the biggest rock band in the world". Recording the album, however, was a tense affair with increasing disputes among the band. The three members recorded their contributions individually in separate rooms and over-dubbed at different times.
The Synchronicity Tour began in Chicago, Illinois in July 1983 at the original Comiskey Park, and on 18 August the band played in front of 70,000 in Shea Stadium, New York. Near the end of the concert, Sting announced: "We'd like to thank the Beatles for lending us their stadium." Looking back, Copeland states, "Playing Shea Stadium was big because, even though I'm a septic tank (rhyming slang for 'Yank'), The Police is an English band and I'm a Londoner – an American Londoner – so it felt like conquering America." They played throughout the UK in December 1983, including four sold out nights at London's Wembley Arena, and the tour ended in Melbourne, Australia on 4 March 1984 at the Melbourne Showgrounds (the final concert featured Sunnyboys, Kids In The Kitchen, Bryan Adams and Australian Crawl, with the Police topping the bill). Sting's look, dominated by his orange-coloured hair (a result of his role in Dune) and tattered clothing, both of which were emphasised in the music videos from the album, carried over into the set for the concert. Except for "King of Pain", the singles were accompanied by music videos directed by Godley & Creme.
Synchronicity became a No. 1 album in both the UK (where it debuted at No. 1) and the US. It stayed at No. 1 in the UK for two weeks and in the US for seventeen weeks. It was nominated for Grammy Awards for Album of the Year, but lost to Michael Jackson's Thriller. "Every Breath You Take" won the Grammy for Song of the Year, beating Jackson's "Billie Jean". "Every Breath You Take" also won the Grammy for Best Pop Performance by a Duo or Group with Vocal, while the album won the Grammy for Best Rock Performance by a Duo or Group with Vocal. "Every Breath You Take" also won the American Video Award for Best Group video, and the song won two Ivor Novello Awards in the categories Best Song Musically and Lyrically and Most Performed Work from the British Academy of Songwriters, Composers, and Authors.
1984–1986: Hiatus, aborted sixth studio album
During the group's 1983 Shea Stadium concert, Sting felt performing at the venue was "Everest" and decided to pursue a solo career, according to the documentary The Last Play at Shea. After the Synchronicity tour ended in March 1984, the band went on hiatus while Sting recorded and toured in support of his successful solo debut LP, the jazz-influenced The Dream of the Blue Turtles, released in June 1985; Copeland recorded and filmed The Rhythmatist (1985); and Summers recorded another album with Robert Fripp (Bewitched, 1984) and the theme song for the film 2010—which was not used in the film, but included on the soundtrack album. At the 1985 Brit Awards held at London's Grosvenor Hotel on 11 February, the band received the award for Outstanding Contribution to Music. In July the same year, Sting and Copeland participated in Live Aid at Wembley Stadium, London.
In June 1986, the Police reconvened to play three concerts for the Amnesty International A Conspiracy of Hope tour. Their last performance on stage before their split was on 15 June at Giants Stadium in New Jersey. They ended their set with "Invisible Sun", bringing out Bono to sing the final verse. When they finished, they handed U2 their instruments for the all-star finale of "I Shall Be Released". As the lead singer of U2 – who themselves would soon be regarded as the biggest band in the world – Bono stated, "It was a very big moment, like passing a torch."
In July of that year, the trio reunited in the studio to record a new album. However, Copeland broke his collarbone in a fall from a horse and was unable to play the drums. As a result of the tense and short-lived reunion in the studio, "Don't Stand So Close to Me '86" was released in October 1986 as their final single and made it into the UK Top 25. It also appeared on the 1986 compilation Every Breath You Take: The Singles, which reached No. 1 in the UK album charts. A rerecorded version of "De Do Do Do De Da Da Da" was subsequently also included on the DTS-CD release of the Every Breath You Take: The Classics album in 1995. The album has sold over five million copies in the US.
Following the failed effort to record a new studio album, the Police effectively disbanded. In the liner notes to the Police's box set Message in a Box, Summers explains: "The attempt to record a new album was doomed from the outset. The night before we went into the studio Stewart broke his collarbone falling off a horse and that meant we lost our last chance of recovering some rapport just by jamming together. Anyway, it was clear Sting had no real intention of writing any new songs for the Police. It was an empty exercise."
1986–2006: Disbandment
Each band member continued with his solo career over the next 20 years. Sting continued recording and touring as a solo performer to great success. Summers recorded a number of albums, both as a solo artist and in collaboration with other musicians. Copeland became a prolific producer of movie and television soundtracks, and he recorded and toured with two new bands, Animal Logic and Oysterhead. However, a few events did bring the Police back together, albeit briefly. Summers played guitar on Sting's album ...Nothing Like the Sun (1987), a favour the singer returned by playing bass on Summers' album Charming Snakes (1989) and later singing lead vocals on "'Round Midnight" for Summers' tribute to Thelonious Monk Green Chimneys (1999). On 2 October 1991 (Sting's 40th birthday), Summers joined Sting on stage at the Hollywood Bowl during The Soul Cages Tour to perform "Walking on the Moon", "Every Breath You Take", and "Message in a Bottle". The performance was broadcast as a pay-per-view event.
On 22 August 1992, Sting married Trudie Styler in an 11th-century chapel in Wiltshire, southwest England. Summers and Copeland were invited to the ceremony and reception. Aware that all band members were present, the wedding guests pressured the trio into playing, and they performed "Roxanne" and "Message in a Bottle". Copeland said later that "after about three minutes, it became 'the thing' again". In 1995 A&M released Live!, a double live album produced by Summers featuring two complete concerts—one recorded on 27 November 1979 at the Orpheum Theatre in Boston during the Reggatta de Blanc tour, and one recorded on 2 November 1983 at the Omni in Atlanta, Georgia, during the Synchronicity Tour (the latter was also documented in the VHS tape Synchronicity Concert in 1984).
On 10 March 2003, the Police were inducted into the Rock and Roll Hall of Fame and performed "Roxanne", "Message in a Bottle", and "Every Breath You Take" live, as a group (the last song was performed alongside Steven Tyler, Gwen Stefani, and John Mayer). In the autumn of 2003, Sting released his autobiography, Broken Music.
In 2004, Copeland and Summers joined Incubus onstage at KROQ's Almost Acoustic Christmas concert in Los Angeles performing "Roxanne" and "Message in a Bottle". In 2004, Henry Padovani released an album with the participation of Copeland and Sting on one track, reuniting the original Police line-up for the first time since 1977. Also in 2004, Rolling Stone ranked the Police No. 70 on their list of the 100 Greatest Artists of All Time.
In 2006, Stewart Copeland released a rockumentary about the band called Everyone Stares: The Police Inside Out, based on Super-8 filming he did when the band was touring and recording in the late 1970s and early 1980s. In October 2006, Andy Summers released One Train Later, an autobiographical memoir detailing his early career and time with the band.
2007–2008: Reunion tour
In early 2007, reports surfaced the trio would reunite for a tour to mark the Police's 30th anniversary, more than 20 years since their split in 1986. On 22 January 2007, the punk wave magazine Side-Line broke the story the Police would reunite for the Grammys, and would perform "Roxanne". Side-Line also stated the Police were to embark on a massive world tour. Billboard magazine later confirmed the news, quoting Summers' 2006 statement as to how the band could have continued post-Synchronicity: "The more rational approach would have been, 'OK, Sting, go make a solo record, and let's get back together in two or three years.' I'm certain we could have done that. Of course we could have. We were definitely not in a creative dry space. We could have easily carried on, and we could probably still be there. That wasn't to be our fate. It went in another way. I regret we never paid it off with a last tour." The band opened the 49th Annual Grammy Awards on 11 February 2007 in Los Angeles, announcing, "Ladies and gentlemen, we are The Police, and we're back!" before launching into "Roxanne".
A&M, the band's record company, promoted the 2007–08 reunion tour as the 30th anniversary of the band's formation and of the release of their first single for A&M, "Roxanne". The Police Reunion Tour began in late May 2007 with two shows in Vancouver. Stewart Copeland gave a scathing review of the show on his own website, which the press interpreted as a feud occurring two gigs into the tour. Copeland later apologised for besmirching "my buddy Sting," and chalked up the comments to "hyper self-criticism".
Tickets for the British leg of the tour sold out within 30 minutes, and the band played two nights at Twickenham Stadium on 8 and 9 September. On 29 and 30 September 2007, Henry Padovani joined the group on stage for the final encore of their two shows in Paris, playing the song "Next to You" as a four-piece band. In October 2007, the group played the largest gig of the reunion tour in Dublin in front of 82,000 fans. The group headlined the TW Classic festival in Werchter, Belgium on 7 June 2008. They also headlined the last night of the 2008 Isle of Wight Festival on 15 June, the Heineken Jammin' Festival in Venice on 23 June and the Sunday night at Hard Rock Calling (previously called Hyde Park Calling) in London on 29 June.
In February 2008, the band announced that, when the tour finished, they would break up again. "There will be no new album, no big new tour," said Sting. "Once we're done with our reunion tour, that's it for The Police." The final show of the tour was on 7 August 2008 at Madison Square Garden in New York City. The band performed the opening song, "Message in a Bottle", with the brass band of the New York Metropolitan Police Corp. Later, they performed "Sunshine of Your Love" and "Purple Haze" as a tribute to the rock trios that preceded them: Cream and The Jimi Hendrix Experience. While announcing the show, the group also donated $1 million to New York Mayor Michael Bloomberg's initiative to plant one million trees in the city by 2017.
The world's highest-earning musicians in 2008, the tour sold 3.7 million tickets and grossed $358 million, making it the third-highest-grossing tour of all time at its conclusion. On 11 November 2008, the Police released Certifiable: Live in Buenos Aires, a Blu-ray, DVD and CD set of the band's two performances in Buenos Aires, Argentina on the tour (1 and 2 December 2007). Those sets with two DVDs also included a documentary shot by Copeland's son Jordan entitled Better Than Therapy as well as some photographs of Buenos Aires taken by Andy Summers.
Musical style
The Police started as a punk rock band, but soon expanded their music vocabulary to incorporate reggae, pop and new wave sonorities to their sound. In his retrospective assessment Stephen Thomas Erlewine of AllMusic argues that the notion of the Police as a punk rock band was true only "in the loosest sense of the term". He states the band's "nervous, reggae-injected pop/rock was punky" and had a "punk spirit" but it "wasn't necessarily punk". A "power trio," The Police are known as a new wave and post-punk band, with many songs falling in the reggae-fusion genre.
Legacy
In 2003, the Police were inducted into the Rock and Roll Hall of Fame in their first year of eligibility. In 2004, Rolling Stone ranked the Police number 70 on their list of the 100 Greatest Artists of All Time, and in 2010, the band were ranked 40th on VH1's 100 Greatest Artists of All Time. Four of the band's five studio albums appeared on Rolling Stone'''s 2003 list of the 500 Greatest Albums of All Time: Ghost in the Machine (number 322), Reggatta de Blanc (number 369), Outlandos d'Amour (number 434), and Synchronicity (number 455). In 2008, Q magazine named Synchronicity among the top 10 British Albums of the 1980s.
The primary songwriter for the Police, Sting was inducted into the Songwriters Hall of Fame in 2002. In Rolling Stone's 2004 list of the 500 greatest songs of all time, "Every Breath You Take" ranked number 84 (the highest new wave song on the list), and "Roxanne" ranked number 388. "Message in a Bottle" ranked number 65 in the magazine's 2008 list of the 100 greatest guitar songs. Q magazine named "Every Breath You Take" among the top 10 British Songs of the 1980s, and in a UK-wide poll by ITV in 2015 it was voted The Nation's Favourite 80s Number One. In May 2019, "Every Breath You Take" was recognized by BMI as being the most performed song in their catalogue, overtaking "You've Lost That Lovin' Feelin'" performed by the Righteous Brothers.
With a string of UK number one albums, the Police were among the most commercially successful British bands of the early 1980s, and with success overseas they are typically regarded as in both the vanguard of the Second British Invasion, and the new wave movement. With a history of playing to large audiences (such as Shea Stadium in 1983), the Police were a featured artist in the stadium rock episode of the 2007 BBC/VH1 series Seven Ages of Rock along with Queen, Led Zeppelin, U2 and Bruce Springsteen. Despite the band's well-documented disagreements with one another, Summers confirmed in 2015 that Sting, Copeland and he are good friends. Summers said, "Despite the general press thing about 'God, they hate each other', it's actually not true, we're very supportive of one another."
DiscographyOutlandos d'Amour (1978)Reggatta de Blanc (1979)Zenyatta Mondatta (1980)Ghost in the Machine (1981)Synchronicity (1983)
Concert tours
The Police Around the World Tour (1977–1980)
Zenyatta Mondatta Tour (1980–1981)
Ghost in the Machine Tour (1981–1982)
Synchronicity Tour (1983–1984)
The Police Reunion Tour (2007–2008)
Band members
Stewart Copeland – drums, percussion, backing and lead vocals, keyboards, guitars (1977–1986, 2003, 2007–2008)
Sting – lead and backing vocals, bass guitar, double bass, keyboards, saxophone, harmonica (1977–1986, 2003, 2007–2008)
Andy Summers – guitars, backing and lead vocals, keyboards (1977–1986, 2003, 2007–2008)
Henry Padovani – guitar (1977; 2007 reunion tour finale, Paris with Sting, Summers, and Copeland)
Awards and nominations
Brit Awards
1982: Best British Group
1985: Outstanding Contribution to Music
Grammy Awards
|-
!scope="row" | 1981
| "Reggatta de Blanc"
| rowspan= "2" | Best Rock Instrumental Performance
|
|-
!scope="row" rowspan= "2" | 1982
| "Behind My Camel"
|
|-
| "Don't Stand So Close to Me"
| Best Rock Performance by a Duo or Group with Vocal
|
|-
!scope="row" rowspan= "4" | 1984
| rowspan= "2" | Synchronicity| Album of the Year
|
|-
| Best Rock Performance by a Duo or Group with Vocal
|
|-
| rowspan= "2" | "Every Breath You Take"
| Record of the Year
|
|-
| Best Pop Performance by a Duo or Group with Vocal
|
|-
!scope="row" | 1986
| The Police Synchronicity Concert
| Best Music Video, Long Form
|
|-
Juno Awards
|-
| rowspan="2" | 1984
| Synchronicity| International Album of the Year
|
People's Choice Awards
|-
| 2008
| Themselves
| Favorite Reunion Tour
|
Rock and Roll Hall of Fame
The Police were inducted into the Rock and Roll Hall of Fame on 10 March 2003.
Other lists
Ranked No.70 on Rolling Stone''s Immortals, the 100 Greatest Artists of All Time.
Ranked No.40 on VH1's List of 100 Greatest Artists of All Time.
See also
List of best-selling music artists
List of highest-grossing concert tours
List of new wave artists
List of reggae rock artists
References
Citations
Sources
External links
thepolice.com
thepolicetour.com
1977 establishments in England
1977 in London
A&M Records artists
Brit Award winners
British musical trios
English new wave musical groups
Grammy Award winners
Juno Award for International Album of the Year winners
Musical groups established in 1977
Musical groups reestablished in 2007
Musical groups disestablished in 2008
Musical groups from London
Reggae rock groups | true | [
"InCulto was a Lithuanian music group. It has the following members: Colombian-born Lithuanian Jurgis Didžiulis (lead vocal), Aurelijus Morlencas, Sergej Makidon, Jievaras Jasinskis and Laurynas Lapė.\n\nEurovision 2010\n\nIn their first Eurovision attempt, the band came second after LT United in the Lithuanian national final of 2006 with their song Welcome To Lithuania. On 4 March 2010, Inculto won the Lithuanian national final to represent Lithuania in the Eurovision Song Contest 2010. They performed Eastern European Funk in the second semi-final held on 27 May 2010 in Oslo, Norway. The band did not receive enough points to get into the final. However they did receive top points (12) from one country, Ireland.\n\nSplitting up\nThe band announced that they would split up by the end of January 2011. They did so in a Facebook article. They also decided to finish up by releasing their last album for free. In the article they say that they are very happy with 2010 and would like to stop at a high point for the band.\n\nDiscography\n\nAlbums \n PostSovPop (2004)\n Marijos Žemės Superhitai (2007)\n Closer Than You Think (2010)\n\nSingles \n \"Jei labai nori\" (with Linas Karalius) (2004)\n \"Suk, suk ratelį\" (2004)\n \"Boogaloo\" (2005)\n \"Welcome To Lithuania\" (2006)\n \"Reikia bandyt\" (feat. Erica Jennings) (2007)\n \"Pasiilgau namų\" (feat. Andrius Rimiškis) (2007)\n \"Eastern European Funk\" (2010)\n\nAwards and nominations\n\n|-\n|2004 || InCulto || Best New Act in Bravo Music Awards|| \n|-\n|2005 || InCulto || Best Band in Bravo Music Awards || \n|-\n|2005 || InCulto || Best Alternative Act in Radiocentras Music Awards || \n|-\n|2006 || InCulto || MTV Europe Music Award for Best Baltic Act || \n|-\n\nReferences\n\nExternal links\n\nOfficial website\n\n''\n\nLithuania in the Eurovision Song Contest\nEurovision Song Contest entrants for Lithuania\nEurovision Song Contest entrants of 2010",
"The ARIA Music Award for Breakthrough ArtistAlbum is an award presented at the annual ARIA Music Awards, which recognises \"the many achievements of Aussie artists across all music genres\", since 1987. It is handed out by the Australian Recording Industry Association (ARIA), an organisation whose aim is \"to advance the interests of the Australian record industry.\" \nThe award is given to an Australian group or solo artist who has had an album appear in the ARIA Top 100 Albums Chart between the eligibility period, and is voted for by a judging academy, which comprises 1000 members from different areas of the music industry. However, \"artists and groups are not eligible if they, or any member of the group, has previously been a final five (5) nominee in any ARIA Awards category with an album, or if they have been in a group that has previously been a final five (5) nominee with an album, or if they have had a previous Top 50 Album in the ARIA Album Chart.\"\n\nThe award for Breakthrough ArtistAlbum was first presented to 1927 and Rockmelons in 1989 for their albums ...Ish (1988) and Tales of the City (1988), respectively. Boy & Bear were the last act to receive the accolade in 2011 for their album Moonfire (2011). This, and the ARIA Award for Breakthrough Artist – Single was merged in 2012 to form a single award for Breakthrough ArtistRelease.\n\nWinners and nominees\nIn the following table, the winner is highlighted in a separate colour, and in boldface; the nominees are those that are not highlighted or in boldface. All reliable sources used in this article make no mention of nominees prior to 1992.\n\nNotes\n\nA: Despite the ARIA Awards website saying C. W. Stoneking was nominated for this award, the video for this award on the Official ARIA YouTube channel shows that Sia was nominated. This is the video: https://www.youtube.com/watch?v=DryNVmJ_AHs \n\nB: In 2010, the Breakthrough Artist - Album award was merged with the Breakthrough Artist - Single accolade to form a sole award for Breakthrough Artist.\n\nReferences\n\nExternal links\nThe ARIA Awards Official website\n\nB\nMusic awards for breakthrough artist"
]
|
[
"The Police",
"1983: Synchronicity and \"The Biggest Band in the World\"",
"What is Synchronicity?",
"In 1983, the Police released their last studio album, Synchronicity,",
"Was it well received?",
"According to Billboard and Guinness' British Hit Singles & Albums the album became a No. 1 album in both the UK (where it debuted at No. 1)",
"Did they tour to promote the album?",
"The Synchronicity Tour began in Chicago, Illinois in July 1983 at the original Comiskey Park,",
"Did they tour in other countries?",
"18 August the band played in front of 70,000 in Shea Stadium, New York. They played throughout the UK in December 1983,",
"Did they receive any awards with this album?",
"It was nominated for Grammy Awards for Album of the Year, but lost to Michael Jackson's Thriller."
]
| C_08763f19d12747cba208109797436417_0 | What was their most popular single? | 6 | What was the Police's most popular single? | The Police | In 1983, the Police released their last studio album, Synchronicity, which spawned the hit singles "Every Breath You Take", "Wrapped Around Your Finger", "King of Pain", and "Synchronicity II". By that time, several critics deemed them "the biggest rock band in the world." Recording the album, however, was a tense affair with increasing disputes among the band. The three members recorded their contributions individually in separate rooms and over-dubbed at different times. The Synchronicity Tour began in Chicago, Illinois in July 1983 at the original Comiskey Park, and on 18 August the band played in front of 70,000 in Shea Stadium, New York. They played throughout the UK in December 1983, including four sold out nights at London's Wembley Arena, and the tour ended in Melbourne, Australia in March 1984 at the Melbourne Showgrounds (the final concert featured Sunny Boys, Australian Crawl and Bryan Adams, with the Police topping the bill). Sting's look, dominated by his orange-coloured hair (a result from his role in Dune) and tattered clothing, both of which were emphasised in the music videos from the album, carried over into the set for the concert. Except for "King of Pain", the singles were accompanied by music videos directed by Godley & Creme. According to Billboard and Guinness' British Hit Singles & Albums the album became a No. 1 album in both the UK (where it debuted at No. 1) and the US. It stayed at No. 1 in the UK for two weeks and in the US for seventeen weeks. It was nominated for Grammy Awards for Album of the Year, but lost to Michael Jackson's Thriller. "Every Breath You Take" won the Grammy for Song of the Year, beating Jackson's "Billie Jean". "Every Breath You Take" also won the Grammy for Best Pop Performance by a Duo or Group with Vocal, while "Synchronicity II" won the Grammy for Best Rock Performance by a Duo or Group with Vocal. "Every Breath You Take" also won the American Video Award for Best Group video, and the song won two Ivor Novello Awards in the categories Best Song Musically and Lyrically and Most Performed Work from the British Academy of Songwriters, Composers and Authors. CANNOTANSWER | ". "Every Breath You Take" also won the Grammy for Best Pop Performance by a Duo or Group with Vocal, | The Police were an English rock band formed in London in 1977. For most of their history the line-up consisted of primary songwriter Sting (lead vocals, bass guitar), Andy Summers (guitar) and Stewart Copeland (drums, percussion). The Police became globally popular in the late 1970s and early 1980s. Emerging in the British new wave scene, they played a style of rock influenced by punk, reggae, and jazz.
Their 1978 debut album, Outlandos d'Amour, reached No. 6 on the UK Albums Chart on the strength of the singles "Roxanne" and "Can't Stand Losing You". Their second album, Reggatta de Blanc (1979), became the first of four consecutive No. 1 studio albums in the UK and Australia; its first two singles, "Message in a Bottle" and "Walking on the Moon", became their first UK number ones. Their next two albums, Zenyatta Mondatta (1980) and Ghost in the Machine (1981), led to further critical and commercial success with two songs, "Don't Stand So Close to Me" and "Every Little Thing She Does Is Magic", becoming UK number-one singles and Top 5 hits in other countries; the latter album and single were their breakthrough into the US as both reached the Top 3 there.
Their final studio album, Synchronicity (1983), was No. 1 in the UK, Canada, Australia, Italy and the US, selling over 8 million copies in the US. Its lead single, "Every Breath You Take", became their fifth UK number one, and only US number one. During this time, the band were considered one of the leaders of the Second British Invasion of the US; in 1983 Rolling Stone labelled them "the first British New Wave act to break through in America on a grand scale, and possibly the biggest band in the world." The Police disbanded in 1986, but reunited in early 2007 for a one-off world tour that ended in August 2008. They were the world's highest-earning musicians in 2008, due to their reunion tour.
The Police have sold over 75 million records, making them one of the best-selling bands of all time. The band won a number of music awards, including six Grammy Awards, two Brit Awards—winning Best British Group once, and an MTV Video Music Award. In 2003, they were inducted into the Rock and Roll Hall of Fame. Four of their five studio albums appeared on Rolling Stones list of the "500 Greatest Albums of All Time". The band were included among both Rolling Stones and VH1's lists of the "100 Greatest Artists of All Time".
History
1977: Formation
In late November 1976, while on tour with the British progressive rock band Curved Air in Newcastle upon Tyne, in the northeast of England, the band's American drummer, Stewart Copeland, met and exchanged phone numbers with ambitious singer-bassist (and former schoolteacher) Gordon Sumner a.k.a. Sting (so nicknamed because of his habit of wearing a black-and-yellow striped sweater resembling a wasp), who at the time was playing in a jazz-rock fusion band called Last Exit. On 12 January 1977, Sting relocated to London and, on the day of his arrival, sought out Copeland for a jam session.
Curved Air had recently split up and Copeland, inspired by the contemporary punk rock movement, was eager to form a new band to join the burgeoning London punk scene. While less keen, Sting acknowledged the commercial opportunities, so they formed The Police as a trio, with Corsican guitarist Henry Padovani recruited as the third member. After their debut concert on 1 March 1977 at Alexander's in Newport, Wales (which lasted only ten minutes), the group played London pubs and Punk clubs touring as backing band and support act for Cherry Vanilla and for Wayne County & the Electric Chairs. On 1 May 1977, The Police released on Illegal Records their debut single "Fall Out," recorded at Pathway Studios in Islington, North London on 12 February 1977 (a couple of weeks before the band's debut live performance), with a budget of £150. This is the only Police recording featuring Henry Padovani. Mick Jagger reviewed the single in Sounds magazine.
Also in May 1977, former Gong musician Mike Howlett invited Sting to join him in the band project Strontium 90. The drummer Howlett had in mind, Chris Cutler, was unavailable, so Sting took Copeland. The band's fourth member was guitarist Andy Summers. A decade older than Sting and Copeland, Summers was a music industry veteran who had played with Eric Burdon and the Animals and Kevin Ayers among others. Strontium 90 performed at a Gong reunion concert in Paris on 28 May 1977, and played at a London club (under the name of "the Elevators") in July. The band also recorded several demo tracks: these were released (along with live recordings and an early version of "Every Little Thing She Does Is Magic") 20 years later on the archive album Strontium 90: Police Academy.
Summers's musicality impressed Sting, who was becoming frustrated with Padovani's rudimentary abilities and the limitations they imposed on The Police's potential. Shortly after the Strontium 90 gig, Sting approached Summers to join the band. He agreed, on the condition the band remain a trio, with him replacing Padovani. Restrained by loyalty, Copeland and Sting resisted the idea, and The Police carried on as a four-piece version. However, they only performed live twice: on 25 July 1977 at the Music Machine in London and on 5 August at the Mont de Marsan Punk Festival. Shortly after these two gigs (and an aborted recording session with ex-Velvet Underground member John Cale as producer on 10 August), Summers delivered an ultimatum to the band and Padovani was dismissed leaving him free to join Wayne County & The Electric Chairs. The effect of Summers's arrival was instant: Copeland said: "One by one, Sting's songs had started coming in, and when Andy joined, it opened up new numbers of Sting's we could do, so the material started to get a lot more interesting and Sting started to take a lot more interest in the group."
The Police's power trio line-up of Copeland, Sting, and Summers performed for the first time on 18 August 1977 at Rebecca's club in Birmingham in the West Midlands. A trio was unusual for the time, and this line-up endured for the rest of the band's history. Few punk bands were three-pieces, while contemporary bands pursuing progressive rock, symphonic rock and other sound trends usually expanded their line-ups with support players. The musical background of all three players may have made them suspect to punk purists, with music critic Christopher Gable stating,
The band were also able to draw on influences from reggae to jazz to progressive and pub rock. While still maintaining the main band and attempting to win over punk audiences, Police members continued to moonlight within the art rock scene. In late 1977 and early 1978, Sting and Summers recorded and performed as part of an ensemble led by German experimental composer Eberhard Schoener; Copeland also joined for a time. These performances resulted in three albums, each of them an eclectic mix of rock, electronica and jazz. Various appearances by the Schoener outfit on German television made the German public aware of Sting's unusual high-pitched voice, and helped pave the way for The Police's later popularity.
The bleached-blond hair that became a band trademark happened by accident. In February 1978, the band, desperate for money, was asked to do a commercial for Wrigley's Spearmint chewing gum (directed by Tony Scott) on the condition they dye their hair blond. The commercial was shot with the band, but was shelved and never aired.
1977–1978: Recording contract and Outlandos d'Amour
Copeland's older brother Miles was initially sceptical of the inclusion of Summers in the band, fearing it would undermine their punk credibility, and reluctantly agreed to provide £1,500 to finance The Police's first album. Recording Outlandos d'Amour was difficult, as the band was working on a small budget, with no manager or record deal. It was recorded during off-peak hours at the Surrey Sound Studios in Leatherhead, Surrey, a converted recording facility above a dairy which was run by brothers Chris and Nigel Gray.
During one of his periodic studio visits, Miles heard "Roxanne" for the first time at the end of a session. Where he had been less enthusiastic about the band's other songs, the elder Copeland was immediately struck by the track, and quickly got The Police a record deal with A&M Records on the strength of it. "Roxanne" was issued as a single in the spring of 1978, while other album tracks were still being recorded, but it failed to chart. It also failed to make the BBC's playlist, which the band attributed to the song's depiction of prostitution. A&M consequently promoted the single with posters claiming "Banned by the BBC", though it was never really banned, just not play-listed. Copeland later admitted, "We got a lot of mileage out of it being supposedly banned by the BBC."
The Police made their first television appearance in October 1978, on BBC2's The Old Grey Whistle Test to promote the release of Outlandos d'Amour. Though "Roxanne" was never banned, the BBC did ban the second single from Outlandos d'Amour, "Can't Stand Losing You". This was due to the single's cover, which featured Copeland hanging himself over an ice block being melted by a portable radiator. The single became a minor chart hit, The Police's first, peaking at No. 42 in the UK. The follow-up single, "So Lonely", issued in November 1978, failed to chart. In February 1979, "Roxanne" was issued as a single in North America, where it was warmly received on radio despite the subject matter. The song peaked at No. 31 in Canada and No. 32 in the US, spurring a UK re-release of it in April. The band performed "Roxanne" on BBC1's Top of the Pops, and the re-issue of the song finally gained the band widespread recognition in the UK when it peaked at No. 12 on the UK Singles Chart.
The group's UK success led to gigs in the US at the famous New York City club CBGB, The Rathskeller (The RAT) in Boston and at The Chance in Poughkeepsie, New York, from which "Roxanne" finally debuted on US radio on WPDH, and a gruelling 1979 North American tour in which the band drove themselves and their equipment around the country in a Ford Econoline van. That summer, "Can't Stand Losing You" was also re-released in the UK, becoming a substantial hit, peaking at No. 2. The group's first single, "Fall Out", was reissued in late 1979, peaking at No. 47 in the UK.
1979: Reggatta de Blanc
In October 1979, the group released their second album, Reggatta de Blanc, which topped the UK Albums Chart and became the first of four consecutive UK No. 1 studio albums. The album spawned the hit singles "Message in a Bottle" (No. 1 UK, No. 2 Canada, No. 5 Australia) and "Walking on the Moon" (No. 1 UK). The album's singles failed to enter the US top 40, but Reggatta de Blanc still reached No. 25 on the US album charts.
The band's first live performance of "Message in a Bottle" was on the BBC's television show Rock Goes to College filmed at Hatfield Polytechnic College in Hertfordshire. The instrumental title track "Reggatta de Blanc" won the Grammy Award for Best Rock Instrumental Performance. In February 1980, the single "So Lonely" was reissued in the UK. Originally a non-charting flop when first issued in late 1978, upon re-release the track became a UK top 10 hit, peaking at No. 6.
In March 1980, the Police began their first world tour, which included places that had seldom hosted foreign performers—including Mexico, India, Taiwan, Hong Kong, Greece and Egypt. The tour was subsequently documented in the film The Police Around the World (1982), directed by Kate and Derek Burbidge, which contains footage shot by Annie Nightingale originally intended for a BBC production The Police in the East.
In May 1980, A&M in the UK released Six Pack, a package containing the five previous A&M singles (not including "Fall Out") in their original sleeves plus a mono alternate take of the album track "The Bed's Too Big Without You" backed with a live version of "Truth Hits Everybody". It reached No. 17 in the UK Singles Chart (although chart regulations introduced later in the decade would have classed it as an album).
1980–1981: Zenyatta Mondatta
Pressured by their record company for a new record and a prompt return to touring, the Police released their third album, Zenyatta Mondatta, in October 1980. The album was recorded in a three-week period in the Netherlands for tax reasons. The album gave the group their third UK No. 1 hit, "Don't Stand So Close to Me" (the UK's best-selling single of 1980) and another hit single, "De Do Do Do, De Da Da Da", both of which reached No. 10 in the US.
While the three band members and co-producer Nigel Gray all expressed immediate regret over the rushed recording for the album, which was finished at 4 a.m. on the day the band began their world tour, the album received high praise from critics. The instrumental "Behind My Camel", written by Andy Summers, won the band a Grammy for Best Rock Instrumental Performance, while "Don't Stand So Close to Me" won the Grammy for Best Rock Vocal Performance for Duo or Group.
1981–1982: Ghost in the Machine and Brimstone and Treacle
The Police's fourth album, Ghost in the Machine, co-produced by Hugh Padgham, was recorded at Air Studios on the Caribbean island of Montserrat, with the exception of "Every Little Thing She Does Is Magic" which was recorded at Le Studio at Morin Heights, Quebec, Canada, and released in 1981. It featured thicker sounds, layered saxophones, and vocal textures. It spawned the hit singles "Every Little Thing She Does Is Magic" (featuring pianist Jean Roussel), their fourth UK No. 1 (No. 3 in the U.S.), "Invisible Sun", and "Spirits in the Material World". As the band was unable to agree on a cover picture, the album cover had three red pictographs, digital likenesses of the three band members in the style of segmented LED displays, set against a black background. In the 1980s, Sting and Summers became tax exiles and moved to Ireland (Sting to Roundstone, County Galway, and Summers to Kinsale in County Cork) while Copeland, an American, remained in England. The group opened and closed the 1981 concert film, Urgh! A Music War. The film, which captured the music scene in the wake of punk, was masterminded by Stewart Copeland's brothers Ian and Miles. The film had a limited release but developed a mythic reputation over the years.
At the 1982 Brit Awards in London, the Police received the award for Best British Group. After the Ghost in the Machine Tour concluded in 1982, the group took a sabbatical and each member pursued outside projects. By this time, Sting was becoming a major star, and he established a career beyond the Police by branching out into acting. Back in 1979, he had made a well-received debut as the "Ace Face" in the British drama film Quadrophenia, a film loosely based on The Who's rock opera, followed by a role as a mechanic in love with Eddie Cochran's music in Chris Petit's Radio On. In 1982, Sting furthered his acting career by co-starring in the Richard Loncraine film Brimstone and Treacle. He also had a minor solo hit in the United Kingdom with the movie's theme song, a cover of the 1929 hit "Spread a Little Happiness" (which appeared on the Brimstone & Treacle soundtrack, along with three new Police tracks, "How Stupid Mr Bates", "A Kind of Loving", and "I Burn for You"). Over 1981 and 1982, Summers recorded his first album with Robert Fripp, I Advance Masked.
In 1983, Stewart Copeland composed the musical score for Francis Ford Coppola's film Rumble Fish. The single "Don't Box Me In (theme From Rumble Fish)", a collaboration between Copeland and singer-songwriter Stan Ridgway (of the band Wall of Voodoo) received significant airplay upon release of the film that year. Also in 1983, Sting filmed his first big-budget movie role-playing Feyd-Rautha in David Lynch's Dune. As Sting's fame rose, his relationship with Stewart Copeland deteriorated. Their increasingly strained partnership was further stretched by the pressures of worldwide publicity and fame, conflicting egos, and their financial success. Meanwhile, both Sting's and Summers's marriages failed.
1983: Synchronicity and "The Biggest Band in the World"
In 1983, the Police released their last studio album, Synchronicity, which spawned the hit singles "Every Breath You Take", "Wrapped Around Your Finger", "King of Pain", and "Synchronicity II". By that time, several critics deemed them "the biggest rock band in the world". Recording the album, however, was a tense affair with increasing disputes among the band. The three members recorded their contributions individually in separate rooms and over-dubbed at different times.
The Synchronicity Tour began in Chicago, Illinois in July 1983 at the original Comiskey Park, and on 18 August the band played in front of 70,000 in Shea Stadium, New York. Near the end of the concert, Sting announced: "We'd like to thank the Beatles for lending us their stadium." Looking back, Copeland states, "Playing Shea Stadium was big because, even though I'm a septic tank (rhyming slang for 'Yank'), The Police is an English band and I'm a Londoner – an American Londoner – so it felt like conquering America." They played throughout the UK in December 1983, including four sold out nights at London's Wembley Arena, and the tour ended in Melbourne, Australia on 4 March 1984 at the Melbourne Showgrounds (the final concert featured Sunnyboys, Kids In The Kitchen, Bryan Adams and Australian Crawl, with the Police topping the bill). Sting's look, dominated by his orange-coloured hair (a result of his role in Dune) and tattered clothing, both of which were emphasised in the music videos from the album, carried over into the set for the concert. Except for "King of Pain", the singles were accompanied by music videos directed by Godley & Creme.
Synchronicity became a No. 1 album in both the UK (where it debuted at No. 1) and the US. It stayed at No. 1 in the UK for two weeks and in the US for seventeen weeks. It was nominated for Grammy Awards for Album of the Year, but lost to Michael Jackson's Thriller. "Every Breath You Take" won the Grammy for Song of the Year, beating Jackson's "Billie Jean". "Every Breath You Take" also won the Grammy for Best Pop Performance by a Duo or Group with Vocal, while the album won the Grammy for Best Rock Performance by a Duo or Group with Vocal. "Every Breath You Take" also won the American Video Award for Best Group video, and the song won two Ivor Novello Awards in the categories Best Song Musically and Lyrically and Most Performed Work from the British Academy of Songwriters, Composers, and Authors.
1984–1986: Hiatus, aborted sixth studio album
During the group's 1983 Shea Stadium concert, Sting felt performing at the venue was "Everest" and decided to pursue a solo career, according to the documentary The Last Play at Shea. After the Synchronicity tour ended in March 1984, the band went on hiatus while Sting recorded and toured in support of his successful solo debut LP, the jazz-influenced The Dream of the Blue Turtles, released in June 1985; Copeland recorded and filmed The Rhythmatist (1985); and Summers recorded another album with Robert Fripp (Bewitched, 1984) and the theme song for the film 2010—which was not used in the film, but included on the soundtrack album. At the 1985 Brit Awards held at London's Grosvenor Hotel on 11 February, the band received the award for Outstanding Contribution to Music. In July the same year, Sting and Copeland participated in Live Aid at Wembley Stadium, London.
In June 1986, the Police reconvened to play three concerts for the Amnesty International A Conspiracy of Hope tour. Their last performance on stage before their split was on 15 June at Giants Stadium in New Jersey. They ended their set with "Invisible Sun", bringing out Bono to sing the final verse. When they finished, they handed U2 their instruments for the all-star finale of "I Shall Be Released". As the lead singer of U2 – who themselves would soon be regarded as the biggest band in the world – Bono stated, "It was a very big moment, like passing a torch."
In July of that year, the trio reunited in the studio to record a new album. However, Copeland broke his collarbone in a fall from a horse and was unable to play the drums. As a result of the tense and short-lived reunion in the studio, "Don't Stand So Close to Me '86" was released in October 1986 as their final single and made it into the UK Top 25. It also appeared on the 1986 compilation Every Breath You Take: The Singles, which reached No. 1 in the UK album charts. A rerecorded version of "De Do Do Do De Da Da Da" was subsequently also included on the DTS-CD release of the Every Breath You Take: The Classics album in 1995. The album has sold over five million copies in the US.
Following the failed effort to record a new studio album, the Police effectively disbanded. In the liner notes to the Police's box set Message in a Box, Summers explains: "The attempt to record a new album was doomed from the outset. The night before we went into the studio Stewart broke his collarbone falling off a horse and that meant we lost our last chance of recovering some rapport just by jamming together. Anyway, it was clear Sting had no real intention of writing any new songs for the Police. It was an empty exercise."
1986–2006: Disbandment
Each band member continued with his solo career over the next 20 years. Sting continued recording and touring as a solo performer to great success. Summers recorded a number of albums, both as a solo artist and in collaboration with other musicians. Copeland became a prolific producer of movie and television soundtracks, and he recorded and toured with two new bands, Animal Logic and Oysterhead. However, a few events did bring the Police back together, albeit briefly. Summers played guitar on Sting's album ...Nothing Like the Sun (1987), a favour the singer returned by playing bass on Summers' album Charming Snakes (1989) and later singing lead vocals on "'Round Midnight" for Summers' tribute to Thelonious Monk Green Chimneys (1999). On 2 October 1991 (Sting's 40th birthday), Summers joined Sting on stage at the Hollywood Bowl during The Soul Cages Tour to perform "Walking on the Moon", "Every Breath You Take", and "Message in a Bottle". The performance was broadcast as a pay-per-view event.
On 22 August 1992, Sting married Trudie Styler in an 11th-century chapel in Wiltshire, southwest England. Summers and Copeland were invited to the ceremony and reception. Aware that all band members were present, the wedding guests pressured the trio into playing, and they performed "Roxanne" and "Message in a Bottle". Copeland said later that "after about three minutes, it became 'the thing' again". In 1995 A&M released Live!, a double live album produced by Summers featuring two complete concerts—one recorded on 27 November 1979 at the Orpheum Theatre in Boston during the Reggatta de Blanc tour, and one recorded on 2 November 1983 at the Omni in Atlanta, Georgia, during the Synchronicity Tour (the latter was also documented in the VHS tape Synchronicity Concert in 1984).
On 10 March 2003, the Police were inducted into the Rock and Roll Hall of Fame and performed "Roxanne", "Message in a Bottle", and "Every Breath You Take" live, as a group (the last song was performed alongside Steven Tyler, Gwen Stefani, and John Mayer). In the autumn of 2003, Sting released his autobiography, Broken Music.
In 2004, Copeland and Summers joined Incubus onstage at KROQ's Almost Acoustic Christmas concert in Los Angeles performing "Roxanne" and "Message in a Bottle". In 2004, Henry Padovani released an album with the participation of Copeland and Sting on one track, reuniting the original Police line-up for the first time since 1977. Also in 2004, Rolling Stone ranked the Police No. 70 on their list of the 100 Greatest Artists of All Time.
In 2006, Stewart Copeland released a rockumentary about the band called Everyone Stares: The Police Inside Out, based on Super-8 filming he did when the band was touring and recording in the late 1970s and early 1980s. In October 2006, Andy Summers released One Train Later, an autobiographical memoir detailing his early career and time with the band.
2007–2008: Reunion tour
In early 2007, reports surfaced the trio would reunite for a tour to mark the Police's 30th anniversary, more than 20 years since their split in 1986. On 22 January 2007, the punk wave magazine Side-Line broke the story the Police would reunite for the Grammys, and would perform "Roxanne". Side-Line also stated the Police were to embark on a massive world tour. Billboard magazine later confirmed the news, quoting Summers' 2006 statement as to how the band could have continued post-Synchronicity: "The more rational approach would have been, 'OK, Sting, go make a solo record, and let's get back together in two or three years.' I'm certain we could have done that. Of course we could have. We were definitely not in a creative dry space. We could have easily carried on, and we could probably still be there. That wasn't to be our fate. It went in another way. I regret we never paid it off with a last tour." The band opened the 49th Annual Grammy Awards on 11 February 2007 in Los Angeles, announcing, "Ladies and gentlemen, we are The Police, and we're back!" before launching into "Roxanne".
A&M, the band's record company, promoted the 2007–08 reunion tour as the 30th anniversary of the band's formation and of the release of their first single for A&M, "Roxanne". The Police Reunion Tour began in late May 2007 with two shows in Vancouver. Stewart Copeland gave a scathing review of the show on his own website, which the press interpreted as a feud occurring two gigs into the tour. Copeland later apologised for besmirching "my buddy Sting," and chalked up the comments to "hyper self-criticism".
Tickets for the British leg of the tour sold out within 30 minutes, and the band played two nights at Twickenham Stadium on 8 and 9 September. On 29 and 30 September 2007, Henry Padovani joined the group on stage for the final encore of their two shows in Paris, playing the song "Next to You" as a four-piece band. In October 2007, the group played the largest gig of the reunion tour in Dublin in front of 82,000 fans. The group headlined the TW Classic festival in Werchter, Belgium on 7 June 2008. They also headlined the last night of the 2008 Isle of Wight Festival on 15 June, the Heineken Jammin' Festival in Venice on 23 June and the Sunday night at Hard Rock Calling (previously called Hyde Park Calling) in London on 29 June.
In February 2008, the band announced that, when the tour finished, they would break up again. "There will be no new album, no big new tour," said Sting. "Once we're done with our reunion tour, that's it for The Police." The final show of the tour was on 7 August 2008 at Madison Square Garden in New York City. The band performed the opening song, "Message in a Bottle", with the brass band of the New York Metropolitan Police Corp. Later, they performed "Sunshine of Your Love" and "Purple Haze" as a tribute to the rock trios that preceded them: Cream and The Jimi Hendrix Experience. While announcing the show, the group also donated $1 million to New York Mayor Michael Bloomberg's initiative to plant one million trees in the city by 2017.
The world's highest-earning musicians in 2008, the tour sold 3.7 million tickets and grossed $358 million, making it the third-highest-grossing tour of all time at its conclusion. On 11 November 2008, the Police released Certifiable: Live in Buenos Aires, a Blu-ray, DVD and CD set of the band's two performances in Buenos Aires, Argentina on the tour (1 and 2 December 2007). Those sets with two DVDs also included a documentary shot by Copeland's son Jordan entitled Better Than Therapy as well as some photographs of Buenos Aires taken by Andy Summers.
Musical style
The Police started as a punk rock band, but soon expanded their music vocabulary to incorporate reggae, pop and new wave sonorities to their sound. In his retrospective assessment Stephen Thomas Erlewine of AllMusic argues that the notion of the Police as a punk rock band was true only "in the loosest sense of the term". He states the band's "nervous, reggae-injected pop/rock was punky" and had a "punk spirit" but it "wasn't necessarily punk". A "power trio," The Police are known as a new wave and post-punk band, with many songs falling in the reggae-fusion genre.
Legacy
In 2003, the Police were inducted into the Rock and Roll Hall of Fame in their first year of eligibility. In 2004, Rolling Stone ranked the Police number 70 on their list of the 100 Greatest Artists of All Time, and in 2010, the band were ranked 40th on VH1's 100 Greatest Artists of All Time. Four of the band's five studio albums appeared on Rolling Stone'''s 2003 list of the 500 Greatest Albums of All Time: Ghost in the Machine (number 322), Reggatta de Blanc (number 369), Outlandos d'Amour (number 434), and Synchronicity (number 455). In 2008, Q magazine named Synchronicity among the top 10 British Albums of the 1980s.
The primary songwriter for the Police, Sting was inducted into the Songwriters Hall of Fame in 2002. In Rolling Stone's 2004 list of the 500 greatest songs of all time, "Every Breath You Take" ranked number 84 (the highest new wave song on the list), and "Roxanne" ranked number 388. "Message in a Bottle" ranked number 65 in the magazine's 2008 list of the 100 greatest guitar songs. Q magazine named "Every Breath You Take" among the top 10 British Songs of the 1980s, and in a UK-wide poll by ITV in 2015 it was voted The Nation's Favourite 80s Number One. In May 2019, "Every Breath You Take" was recognized by BMI as being the most performed song in their catalogue, overtaking "You've Lost That Lovin' Feelin'" performed by the Righteous Brothers.
With a string of UK number one albums, the Police were among the most commercially successful British bands of the early 1980s, and with success overseas they are typically regarded as in both the vanguard of the Second British Invasion, and the new wave movement. With a history of playing to large audiences (such as Shea Stadium in 1983), the Police were a featured artist in the stadium rock episode of the 2007 BBC/VH1 series Seven Ages of Rock along with Queen, Led Zeppelin, U2 and Bruce Springsteen. Despite the band's well-documented disagreements with one another, Summers confirmed in 2015 that Sting, Copeland and he are good friends. Summers said, "Despite the general press thing about 'God, they hate each other', it's actually not true, we're very supportive of one another."
DiscographyOutlandos d'Amour (1978)Reggatta de Blanc (1979)Zenyatta Mondatta (1980)Ghost in the Machine (1981)Synchronicity (1983)
Concert tours
The Police Around the World Tour (1977–1980)
Zenyatta Mondatta Tour (1980–1981)
Ghost in the Machine Tour (1981–1982)
Synchronicity Tour (1983–1984)
The Police Reunion Tour (2007–2008)
Band members
Stewart Copeland – drums, percussion, backing and lead vocals, keyboards, guitars (1977–1986, 2003, 2007–2008)
Sting – lead and backing vocals, bass guitar, double bass, keyboards, saxophone, harmonica (1977–1986, 2003, 2007–2008)
Andy Summers – guitars, backing and lead vocals, keyboards (1977–1986, 2003, 2007–2008)
Henry Padovani – guitar (1977; 2007 reunion tour finale, Paris with Sting, Summers, and Copeland)
Awards and nominations
Brit Awards
1982: Best British Group
1985: Outstanding Contribution to Music
Grammy Awards
|-
!scope="row" | 1981
| "Reggatta de Blanc"
| rowspan= "2" | Best Rock Instrumental Performance
|
|-
!scope="row" rowspan= "2" | 1982
| "Behind My Camel"
|
|-
| "Don't Stand So Close to Me"
| Best Rock Performance by a Duo or Group with Vocal
|
|-
!scope="row" rowspan= "4" | 1984
| rowspan= "2" | Synchronicity| Album of the Year
|
|-
| Best Rock Performance by a Duo or Group with Vocal
|
|-
| rowspan= "2" | "Every Breath You Take"
| Record of the Year
|
|-
| Best Pop Performance by a Duo or Group with Vocal
|
|-
!scope="row" | 1986
| The Police Synchronicity Concert
| Best Music Video, Long Form
|
|-
Juno Awards
|-
| rowspan="2" | 1984
| Synchronicity| International Album of the Year
|
People's Choice Awards
|-
| 2008
| Themselves
| Favorite Reunion Tour
|
Rock and Roll Hall of Fame
The Police were inducted into the Rock and Roll Hall of Fame on 10 March 2003.
Other lists
Ranked No.70 on Rolling Stone''s Immortals, the 100 Greatest Artists of All Time.
Ranked No.40 on VH1's List of 100 Greatest Artists of All Time.
See also
List of best-selling music artists
List of highest-grossing concert tours
List of new wave artists
List of reggae rock artists
References
Citations
Sources
External links
thepolice.com
thepolicetour.com
1977 establishments in England
1977 in London
A&M Records artists
Brit Award winners
British musical trios
English new wave musical groups
Grammy Award winners
Juno Award for International Album of the Year winners
Musical groups established in 1977
Musical groups reestablished in 2007
Musical groups disestablished in 2008
Musical groups from London
Reggae rock groups | true | [
"T.P.E. was a project of dance-pop and Freestyle music formed in 1991 by music producer Adam Marano, who also was the only member of the project. T.P.E means The Philadelphia Experiment. and it was one of the first projects created by Adam Marano before creating what would become his most famous project, the Collage. T.P.E. released four singles; the most popular of them being the song \"Then Came You\", which reached No. 91 on the Billboard Hot 100 in 1991.\n\nThe project ended its activities in 1994, when they released their last single, \"Dance with Me\".\n\nDiscography\n\nStudio album\n\nSingles\n\nReferences\n\nAmerican freestyle musicians\nMusical groups established in 1991\n1991 establishments in the United States",
"\"History Never Repeats\" was a single written by Neil Finn and recorded by Split Enz. It was released in March 1981 as the second single from their sixth studio album, Waiata. The song remains one of their most popular.\n\nThe guitar bridge in this song, played by Neil Finn, was originally featured in an old Phil Judd song, \"Bergen Aan Zee\". The band only played the latter song live.\n\nThe video was the 12th to be played by MTV upon its launch in 1981. In 2001 the song was voted by members of APRA as the 57th best New Zealand song of the 20th century.\n\nTrack listings\n\nAustralasian release \n\"History Never Repeats\" - 3:00\n\"Holy Smoke\"\n\nInternational release \nReleased in the UK, the Netherlands, Spain, and Portugal with different artwork and track listings.\n\nUK/Portugal Track Listing\n\"History Never Repeats\" - 3:00\n\"Shark Attack (Live)\"\n\"What's The Matter With You (Live)\"\n\nNetherlands/Spain Track Listing\n\"History Never Repeats\" - 3:00\n\"What's the Matter with You (Live)\"\n\nPersonnel \n Neil Finn - vocals, guitar\n Tim Finn - vocals\n Noel Crombie - percussion\n Malcolm Green - drums\n Nigel Griggs - bass\n Eddie Rayner - vocals, keyboards\n\nCharts\n\nReferences\n\nAPRA Award winners\nSplit Enz songs\n1981 singles\nSongs written by Neil Finn\n1980 songs\nMushroom Records singles"
]
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"The Police",
"1983: Synchronicity and \"The Biggest Band in the World\"",
"What is Synchronicity?",
"In 1983, the Police released their last studio album, Synchronicity,",
"Was it well received?",
"According to Billboard and Guinness' British Hit Singles & Albums the album became a No. 1 album in both the UK (where it debuted at No. 1)",
"Did they tour to promote the album?",
"The Synchronicity Tour began in Chicago, Illinois in July 1983 at the original Comiskey Park,",
"Did they tour in other countries?",
"18 August the band played in front of 70,000 in Shea Stadium, New York. They played throughout the UK in December 1983,",
"Did they receive any awards with this album?",
"It was nominated for Grammy Awards for Album of the Year, but lost to Michael Jackson's Thriller.",
"What was their most popular single?",
"\". \"Every Breath You Take\" also won the Grammy for Best Pop Performance by a Duo or Group with Vocal,"
]
| C_08763f19d12747cba208109797436417_0 | Did they have any other hit singles? | 7 | Other than "Every Breath You Take", did the Police have any other hit singles? | The Police | In 1983, the Police released their last studio album, Synchronicity, which spawned the hit singles "Every Breath You Take", "Wrapped Around Your Finger", "King of Pain", and "Synchronicity II". By that time, several critics deemed them "the biggest rock band in the world." Recording the album, however, was a tense affair with increasing disputes among the band. The three members recorded their contributions individually in separate rooms and over-dubbed at different times. The Synchronicity Tour began in Chicago, Illinois in July 1983 at the original Comiskey Park, and on 18 August the band played in front of 70,000 in Shea Stadium, New York. They played throughout the UK in December 1983, including four sold out nights at London's Wembley Arena, and the tour ended in Melbourne, Australia in March 1984 at the Melbourne Showgrounds (the final concert featured Sunny Boys, Australian Crawl and Bryan Adams, with the Police topping the bill). Sting's look, dominated by his orange-coloured hair (a result from his role in Dune) and tattered clothing, both of which were emphasised in the music videos from the album, carried over into the set for the concert. Except for "King of Pain", the singles were accompanied by music videos directed by Godley & Creme. According to Billboard and Guinness' British Hit Singles & Albums the album became a No. 1 album in both the UK (where it debuted at No. 1) and the US. It stayed at No. 1 in the UK for two weeks and in the US for seventeen weeks. It was nominated for Grammy Awards for Album of the Year, but lost to Michael Jackson's Thriller. "Every Breath You Take" won the Grammy for Song of the Year, beating Jackson's "Billie Jean". "Every Breath You Take" also won the Grammy for Best Pop Performance by a Duo or Group with Vocal, while "Synchronicity II" won the Grammy for Best Rock Performance by a Duo or Group with Vocal. "Every Breath You Take" also won the American Video Award for Best Group video, and the song won two Ivor Novello Awards in the categories Best Song Musically and Lyrically and Most Performed Work from the British Academy of Songwriters, Composers and Authors. CANNOTANSWER | while "Synchronicity II" won the Grammy for Best Rock Performance by a Duo or Group with Vocal. | The Police were an English rock band formed in London in 1977. For most of their history the line-up consisted of primary songwriter Sting (lead vocals, bass guitar), Andy Summers (guitar) and Stewart Copeland (drums, percussion). The Police became globally popular in the late 1970s and early 1980s. Emerging in the British new wave scene, they played a style of rock influenced by punk, reggae, and jazz.
Their 1978 debut album, Outlandos d'Amour, reached No. 6 on the UK Albums Chart on the strength of the singles "Roxanne" and "Can't Stand Losing You". Their second album, Reggatta de Blanc (1979), became the first of four consecutive No. 1 studio albums in the UK and Australia; its first two singles, "Message in a Bottle" and "Walking on the Moon", became their first UK number ones. Their next two albums, Zenyatta Mondatta (1980) and Ghost in the Machine (1981), led to further critical and commercial success with two songs, "Don't Stand So Close to Me" and "Every Little Thing She Does Is Magic", becoming UK number-one singles and Top 5 hits in other countries; the latter album and single were their breakthrough into the US as both reached the Top 3 there.
Their final studio album, Synchronicity (1983), was No. 1 in the UK, Canada, Australia, Italy and the US, selling over 8 million copies in the US. Its lead single, "Every Breath You Take", became their fifth UK number one, and only US number one. During this time, the band were considered one of the leaders of the Second British Invasion of the US; in 1983 Rolling Stone labelled them "the first British New Wave act to break through in America on a grand scale, and possibly the biggest band in the world." The Police disbanded in 1986, but reunited in early 2007 for a one-off world tour that ended in August 2008. They were the world's highest-earning musicians in 2008, due to their reunion tour.
The Police have sold over 75 million records, making them one of the best-selling bands of all time. The band won a number of music awards, including six Grammy Awards, two Brit Awards—winning Best British Group once, and an MTV Video Music Award. In 2003, they were inducted into the Rock and Roll Hall of Fame. Four of their five studio albums appeared on Rolling Stones list of the "500 Greatest Albums of All Time". The band were included among both Rolling Stones and VH1's lists of the "100 Greatest Artists of All Time".
History
1977: Formation
In late November 1976, while on tour with the British progressive rock band Curved Air in Newcastle upon Tyne, in the northeast of England, the band's American drummer, Stewart Copeland, met and exchanged phone numbers with ambitious singer-bassist (and former schoolteacher) Gordon Sumner a.k.a. Sting (so nicknamed because of his habit of wearing a black-and-yellow striped sweater resembling a wasp), who at the time was playing in a jazz-rock fusion band called Last Exit. On 12 January 1977, Sting relocated to London and, on the day of his arrival, sought out Copeland for a jam session.
Curved Air had recently split up and Copeland, inspired by the contemporary punk rock movement, was eager to form a new band to join the burgeoning London punk scene. While less keen, Sting acknowledged the commercial opportunities, so they formed The Police as a trio, with Corsican guitarist Henry Padovani recruited as the third member. After their debut concert on 1 March 1977 at Alexander's in Newport, Wales (which lasted only ten minutes), the group played London pubs and Punk clubs touring as backing band and support act for Cherry Vanilla and for Wayne County & the Electric Chairs. On 1 May 1977, The Police released on Illegal Records their debut single "Fall Out," recorded at Pathway Studios in Islington, North London on 12 February 1977 (a couple of weeks before the band's debut live performance), with a budget of £150. This is the only Police recording featuring Henry Padovani. Mick Jagger reviewed the single in Sounds magazine.
Also in May 1977, former Gong musician Mike Howlett invited Sting to join him in the band project Strontium 90. The drummer Howlett had in mind, Chris Cutler, was unavailable, so Sting took Copeland. The band's fourth member was guitarist Andy Summers. A decade older than Sting and Copeland, Summers was a music industry veteran who had played with Eric Burdon and the Animals and Kevin Ayers among others. Strontium 90 performed at a Gong reunion concert in Paris on 28 May 1977, and played at a London club (under the name of "the Elevators") in July. The band also recorded several demo tracks: these were released (along with live recordings and an early version of "Every Little Thing She Does Is Magic") 20 years later on the archive album Strontium 90: Police Academy.
Summers's musicality impressed Sting, who was becoming frustrated with Padovani's rudimentary abilities and the limitations they imposed on The Police's potential. Shortly after the Strontium 90 gig, Sting approached Summers to join the band. He agreed, on the condition the band remain a trio, with him replacing Padovani. Restrained by loyalty, Copeland and Sting resisted the idea, and The Police carried on as a four-piece version. However, they only performed live twice: on 25 July 1977 at the Music Machine in London and on 5 August at the Mont de Marsan Punk Festival. Shortly after these two gigs (and an aborted recording session with ex-Velvet Underground member John Cale as producer on 10 August), Summers delivered an ultimatum to the band and Padovani was dismissed leaving him free to join Wayne County & The Electric Chairs. The effect of Summers's arrival was instant: Copeland said: "One by one, Sting's songs had started coming in, and when Andy joined, it opened up new numbers of Sting's we could do, so the material started to get a lot more interesting and Sting started to take a lot more interest in the group."
The Police's power trio line-up of Copeland, Sting, and Summers performed for the first time on 18 August 1977 at Rebecca's club in Birmingham in the West Midlands. A trio was unusual for the time, and this line-up endured for the rest of the band's history. Few punk bands were three-pieces, while contemporary bands pursuing progressive rock, symphonic rock and other sound trends usually expanded their line-ups with support players. The musical background of all three players may have made them suspect to punk purists, with music critic Christopher Gable stating,
The band were also able to draw on influences from reggae to jazz to progressive and pub rock. While still maintaining the main band and attempting to win over punk audiences, Police members continued to moonlight within the art rock scene. In late 1977 and early 1978, Sting and Summers recorded and performed as part of an ensemble led by German experimental composer Eberhard Schoener; Copeland also joined for a time. These performances resulted in three albums, each of them an eclectic mix of rock, electronica and jazz. Various appearances by the Schoener outfit on German television made the German public aware of Sting's unusual high-pitched voice, and helped pave the way for The Police's later popularity.
The bleached-blond hair that became a band trademark happened by accident. In February 1978, the band, desperate for money, was asked to do a commercial for Wrigley's Spearmint chewing gum (directed by Tony Scott) on the condition they dye their hair blond. The commercial was shot with the band, but was shelved and never aired.
1977–1978: Recording contract and Outlandos d'Amour
Copeland's older brother Miles was initially sceptical of the inclusion of Summers in the band, fearing it would undermine their punk credibility, and reluctantly agreed to provide £1,500 to finance The Police's first album. Recording Outlandos d'Amour was difficult, as the band was working on a small budget, with no manager or record deal. It was recorded during off-peak hours at the Surrey Sound Studios in Leatherhead, Surrey, a converted recording facility above a dairy which was run by brothers Chris and Nigel Gray.
During one of his periodic studio visits, Miles heard "Roxanne" for the first time at the end of a session. Where he had been less enthusiastic about the band's other songs, the elder Copeland was immediately struck by the track, and quickly got The Police a record deal with A&M Records on the strength of it. "Roxanne" was issued as a single in the spring of 1978, while other album tracks were still being recorded, but it failed to chart. It also failed to make the BBC's playlist, which the band attributed to the song's depiction of prostitution. A&M consequently promoted the single with posters claiming "Banned by the BBC", though it was never really banned, just not play-listed. Copeland later admitted, "We got a lot of mileage out of it being supposedly banned by the BBC."
The Police made their first television appearance in October 1978, on BBC2's The Old Grey Whistle Test to promote the release of Outlandos d'Amour. Though "Roxanne" was never banned, the BBC did ban the second single from Outlandos d'Amour, "Can't Stand Losing You". This was due to the single's cover, which featured Copeland hanging himself over an ice block being melted by a portable radiator. The single became a minor chart hit, The Police's first, peaking at No. 42 in the UK. The follow-up single, "So Lonely", issued in November 1978, failed to chart. In February 1979, "Roxanne" was issued as a single in North America, where it was warmly received on radio despite the subject matter. The song peaked at No. 31 in Canada and No. 32 in the US, spurring a UK re-release of it in April. The band performed "Roxanne" on BBC1's Top of the Pops, and the re-issue of the song finally gained the band widespread recognition in the UK when it peaked at No. 12 on the UK Singles Chart.
The group's UK success led to gigs in the US at the famous New York City club CBGB, The Rathskeller (The RAT) in Boston and at The Chance in Poughkeepsie, New York, from which "Roxanne" finally debuted on US radio on WPDH, and a gruelling 1979 North American tour in which the band drove themselves and their equipment around the country in a Ford Econoline van. That summer, "Can't Stand Losing You" was also re-released in the UK, becoming a substantial hit, peaking at No. 2. The group's first single, "Fall Out", was reissued in late 1979, peaking at No. 47 in the UK.
1979: Reggatta de Blanc
In October 1979, the group released their second album, Reggatta de Blanc, which topped the UK Albums Chart and became the first of four consecutive UK No. 1 studio albums. The album spawned the hit singles "Message in a Bottle" (No. 1 UK, No. 2 Canada, No. 5 Australia) and "Walking on the Moon" (No. 1 UK). The album's singles failed to enter the US top 40, but Reggatta de Blanc still reached No. 25 on the US album charts.
The band's first live performance of "Message in a Bottle" was on the BBC's television show Rock Goes to College filmed at Hatfield Polytechnic College in Hertfordshire. The instrumental title track "Reggatta de Blanc" won the Grammy Award for Best Rock Instrumental Performance. In February 1980, the single "So Lonely" was reissued in the UK. Originally a non-charting flop when first issued in late 1978, upon re-release the track became a UK top 10 hit, peaking at No. 6.
In March 1980, the Police began their first world tour, which included places that had seldom hosted foreign performers—including Mexico, India, Taiwan, Hong Kong, Greece and Egypt. The tour was subsequently documented in the film The Police Around the World (1982), directed by Kate and Derek Burbidge, which contains footage shot by Annie Nightingale originally intended for a BBC production The Police in the East.
In May 1980, A&M in the UK released Six Pack, a package containing the five previous A&M singles (not including "Fall Out") in their original sleeves plus a mono alternate take of the album track "The Bed's Too Big Without You" backed with a live version of "Truth Hits Everybody". It reached No. 17 in the UK Singles Chart (although chart regulations introduced later in the decade would have classed it as an album).
1980–1981: Zenyatta Mondatta
Pressured by their record company for a new record and a prompt return to touring, the Police released their third album, Zenyatta Mondatta, in October 1980. The album was recorded in a three-week period in the Netherlands for tax reasons. The album gave the group their third UK No. 1 hit, "Don't Stand So Close to Me" (the UK's best-selling single of 1980) and another hit single, "De Do Do Do, De Da Da Da", both of which reached No. 10 in the US.
While the three band members and co-producer Nigel Gray all expressed immediate regret over the rushed recording for the album, which was finished at 4 a.m. on the day the band began their world tour, the album received high praise from critics. The instrumental "Behind My Camel", written by Andy Summers, won the band a Grammy for Best Rock Instrumental Performance, while "Don't Stand So Close to Me" won the Grammy for Best Rock Vocal Performance for Duo or Group.
1981–1982: Ghost in the Machine and Brimstone and Treacle
The Police's fourth album, Ghost in the Machine, co-produced by Hugh Padgham, was recorded at Air Studios on the Caribbean island of Montserrat, with the exception of "Every Little Thing She Does Is Magic" which was recorded at Le Studio at Morin Heights, Quebec, Canada, and released in 1981. It featured thicker sounds, layered saxophones, and vocal textures. It spawned the hit singles "Every Little Thing She Does Is Magic" (featuring pianist Jean Roussel), their fourth UK No. 1 (No. 3 in the U.S.), "Invisible Sun", and "Spirits in the Material World". As the band was unable to agree on a cover picture, the album cover had three red pictographs, digital likenesses of the three band members in the style of segmented LED displays, set against a black background. In the 1980s, Sting and Summers became tax exiles and moved to Ireland (Sting to Roundstone, County Galway, and Summers to Kinsale in County Cork) while Copeland, an American, remained in England. The group opened and closed the 1981 concert film, Urgh! A Music War. The film, which captured the music scene in the wake of punk, was masterminded by Stewart Copeland's brothers Ian and Miles. The film had a limited release but developed a mythic reputation over the years.
At the 1982 Brit Awards in London, the Police received the award for Best British Group. After the Ghost in the Machine Tour concluded in 1982, the group took a sabbatical and each member pursued outside projects. By this time, Sting was becoming a major star, and he established a career beyond the Police by branching out into acting. Back in 1979, he had made a well-received debut as the "Ace Face" in the British drama film Quadrophenia, a film loosely based on The Who's rock opera, followed by a role as a mechanic in love with Eddie Cochran's music in Chris Petit's Radio On. In 1982, Sting furthered his acting career by co-starring in the Richard Loncraine film Brimstone and Treacle. He also had a minor solo hit in the United Kingdom with the movie's theme song, a cover of the 1929 hit "Spread a Little Happiness" (which appeared on the Brimstone & Treacle soundtrack, along with three new Police tracks, "How Stupid Mr Bates", "A Kind of Loving", and "I Burn for You"). Over 1981 and 1982, Summers recorded his first album with Robert Fripp, I Advance Masked.
In 1983, Stewart Copeland composed the musical score for Francis Ford Coppola's film Rumble Fish. The single "Don't Box Me In (theme From Rumble Fish)", a collaboration between Copeland and singer-songwriter Stan Ridgway (of the band Wall of Voodoo) received significant airplay upon release of the film that year. Also in 1983, Sting filmed his first big-budget movie role-playing Feyd-Rautha in David Lynch's Dune. As Sting's fame rose, his relationship with Stewart Copeland deteriorated. Their increasingly strained partnership was further stretched by the pressures of worldwide publicity and fame, conflicting egos, and their financial success. Meanwhile, both Sting's and Summers's marriages failed.
1983: Synchronicity and "The Biggest Band in the World"
In 1983, the Police released their last studio album, Synchronicity, which spawned the hit singles "Every Breath You Take", "Wrapped Around Your Finger", "King of Pain", and "Synchronicity II". By that time, several critics deemed them "the biggest rock band in the world". Recording the album, however, was a tense affair with increasing disputes among the band. The three members recorded their contributions individually in separate rooms and over-dubbed at different times.
The Synchronicity Tour began in Chicago, Illinois in July 1983 at the original Comiskey Park, and on 18 August the band played in front of 70,000 in Shea Stadium, New York. Near the end of the concert, Sting announced: "We'd like to thank the Beatles for lending us their stadium." Looking back, Copeland states, "Playing Shea Stadium was big because, even though I'm a septic tank (rhyming slang for 'Yank'), The Police is an English band and I'm a Londoner – an American Londoner – so it felt like conquering America." They played throughout the UK in December 1983, including four sold out nights at London's Wembley Arena, and the tour ended in Melbourne, Australia on 4 March 1984 at the Melbourne Showgrounds (the final concert featured Sunnyboys, Kids In The Kitchen, Bryan Adams and Australian Crawl, with the Police topping the bill). Sting's look, dominated by his orange-coloured hair (a result of his role in Dune) and tattered clothing, both of which were emphasised in the music videos from the album, carried over into the set for the concert. Except for "King of Pain", the singles were accompanied by music videos directed by Godley & Creme.
Synchronicity became a No. 1 album in both the UK (where it debuted at No. 1) and the US. It stayed at No. 1 in the UK for two weeks and in the US for seventeen weeks. It was nominated for Grammy Awards for Album of the Year, but lost to Michael Jackson's Thriller. "Every Breath You Take" won the Grammy for Song of the Year, beating Jackson's "Billie Jean". "Every Breath You Take" also won the Grammy for Best Pop Performance by a Duo or Group with Vocal, while the album won the Grammy for Best Rock Performance by a Duo or Group with Vocal. "Every Breath You Take" also won the American Video Award for Best Group video, and the song won two Ivor Novello Awards in the categories Best Song Musically and Lyrically and Most Performed Work from the British Academy of Songwriters, Composers, and Authors.
1984–1986: Hiatus, aborted sixth studio album
During the group's 1983 Shea Stadium concert, Sting felt performing at the venue was "Everest" and decided to pursue a solo career, according to the documentary The Last Play at Shea. After the Synchronicity tour ended in March 1984, the band went on hiatus while Sting recorded and toured in support of his successful solo debut LP, the jazz-influenced The Dream of the Blue Turtles, released in June 1985; Copeland recorded and filmed The Rhythmatist (1985); and Summers recorded another album with Robert Fripp (Bewitched, 1984) and the theme song for the film 2010—which was not used in the film, but included on the soundtrack album. At the 1985 Brit Awards held at London's Grosvenor Hotel on 11 February, the band received the award for Outstanding Contribution to Music. In July the same year, Sting and Copeland participated in Live Aid at Wembley Stadium, London.
In June 1986, the Police reconvened to play three concerts for the Amnesty International A Conspiracy of Hope tour. Their last performance on stage before their split was on 15 June at Giants Stadium in New Jersey. They ended their set with "Invisible Sun", bringing out Bono to sing the final verse. When they finished, they handed U2 their instruments for the all-star finale of "I Shall Be Released". As the lead singer of U2 – who themselves would soon be regarded as the biggest band in the world – Bono stated, "It was a very big moment, like passing a torch."
In July of that year, the trio reunited in the studio to record a new album. However, Copeland broke his collarbone in a fall from a horse and was unable to play the drums. As a result of the tense and short-lived reunion in the studio, "Don't Stand So Close to Me '86" was released in October 1986 as their final single and made it into the UK Top 25. It also appeared on the 1986 compilation Every Breath You Take: The Singles, which reached No. 1 in the UK album charts. A rerecorded version of "De Do Do Do De Da Da Da" was subsequently also included on the DTS-CD release of the Every Breath You Take: The Classics album in 1995. The album has sold over five million copies in the US.
Following the failed effort to record a new studio album, the Police effectively disbanded. In the liner notes to the Police's box set Message in a Box, Summers explains: "The attempt to record a new album was doomed from the outset. The night before we went into the studio Stewart broke his collarbone falling off a horse and that meant we lost our last chance of recovering some rapport just by jamming together. Anyway, it was clear Sting had no real intention of writing any new songs for the Police. It was an empty exercise."
1986–2006: Disbandment
Each band member continued with his solo career over the next 20 years. Sting continued recording and touring as a solo performer to great success. Summers recorded a number of albums, both as a solo artist and in collaboration with other musicians. Copeland became a prolific producer of movie and television soundtracks, and he recorded and toured with two new bands, Animal Logic and Oysterhead. However, a few events did bring the Police back together, albeit briefly. Summers played guitar on Sting's album ...Nothing Like the Sun (1987), a favour the singer returned by playing bass on Summers' album Charming Snakes (1989) and later singing lead vocals on "'Round Midnight" for Summers' tribute to Thelonious Monk Green Chimneys (1999). On 2 October 1991 (Sting's 40th birthday), Summers joined Sting on stage at the Hollywood Bowl during The Soul Cages Tour to perform "Walking on the Moon", "Every Breath You Take", and "Message in a Bottle". The performance was broadcast as a pay-per-view event.
On 22 August 1992, Sting married Trudie Styler in an 11th-century chapel in Wiltshire, southwest England. Summers and Copeland were invited to the ceremony and reception. Aware that all band members were present, the wedding guests pressured the trio into playing, and they performed "Roxanne" and "Message in a Bottle". Copeland said later that "after about three minutes, it became 'the thing' again". In 1995 A&M released Live!, a double live album produced by Summers featuring two complete concerts—one recorded on 27 November 1979 at the Orpheum Theatre in Boston during the Reggatta de Blanc tour, and one recorded on 2 November 1983 at the Omni in Atlanta, Georgia, during the Synchronicity Tour (the latter was also documented in the VHS tape Synchronicity Concert in 1984).
On 10 March 2003, the Police were inducted into the Rock and Roll Hall of Fame and performed "Roxanne", "Message in a Bottle", and "Every Breath You Take" live, as a group (the last song was performed alongside Steven Tyler, Gwen Stefani, and John Mayer). In the autumn of 2003, Sting released his autobiography, Broken Music.
In 2004, Copeland and Summers joined Incubus onstage at KROQ's Almost Acoustic Christmas concert in Los Angeles performing "Roxanne" and "Message in a Bottle". In 2004, Henry Padovani released an album with the participation of Copeland and Sting on one track, reuniting the original Police line-up for the first time since 1977. Also in 2004, Rolling Stone ranked the Police No. 70 on their list of the 100 Greatest Artists of All Time.
In 2006, Stewart Copeland released a rockumentary about the band called Everyone Stares: The Police Inside Out, based on Super-8 filming he did when the band was touring and recording in the late 1970s and early 1980s. In October 2006, Andy Summers released One Train Later, an autobiographical memoir detailing his early career and time with the band.
2007–2008: Reunion tour
In early 2007, reports surfaced the trio would reunite for a tour to mark the Police's 30th anniversary, more than 20 years since their split in 1986. On 22 January 2007, the punk wave magazine Side-Line broke the story the Police would reunite for the Grammys, and would perform "Roxanne". Side-Line also stated the Police were to embark on a massive world tour. Billboard magazine later confirmed the news, quoting Summers' 2006 statement as to how the band could have continued post-Synchronicity: "The more rational approach would have been, 'OK, Sting, go make a solo record, and let's get back together in two or three years.' I'm certain we could have done that. Of course we could have. We were definitely not in a creative dry space. We could have easily carried on, and we could probably still be there. That wasn't to be our fate. It went in another way. I regret we never paid it off with a last tour." The band opened the 49th Annual Grammy Awards on 11 February 2007 in Los Angeles, announcing, "Ladies and gentlemen, we are The Police, and we're back!" before launching into "Roxanne".
A&M, the band's record company, promoted the 2007–08 reunion tour as the 30th anniversary of the band's formation and of the release of their first single for A&M, "Roxanne". The Police Reunion Tour began in late May 2007 with two shows in Vancouver. Stewart Copeland gave a scathing review of the show on his own website, which the press interpreted as a feud occurring two gigs into the tour. Copeland later apologised for besmirching "my buddy Sting," and chalked up the comments to "hyper self-criticism".
Tickets for the British leg of the tour sold out within 30 minutes, and the band played two nights at Twickenham Stadium on 8 and 9 September. On 29 and 30 September 2007, Henry Padovani joined the group on stage for the final encore of their two shows in Paris, playing the song "Next to You" as a four-piece band. In October 2007, the group played the largest gig of the reunion tour in Dublin in front of 82,000 fans. The group headlined the TW Classic festival in Werchter, Belgium on 7 June 2008. They also headlined the last night of the 2008 Isle of Wight Festival on 15 June, the Heineken Jammin' Festival in Venice on 23 June and the Sunday night at Hard Rock Calling (previously called Hyde Park Calling) in London on 29 June.
In February 2008, the band announced that, when the tour finished, they would break up again. "There will be no new album, no big new tour," said Sting. "Once we're done with our reunion tour, that's it for The Police." The final show of the tour was on 7 August 2008 at Madison Square Garden in New York City. The band performed the opening song, "Message in a Bottle", with the brass band of the New York Metropolitan Police Corp. Later, they performed "Sunshine of Your Love" and "Purple Haze" as a tribute to the rock trios that preceded them: Cream and The Jimi Hendrix Experience. While announcing the show, the group also donated $1 million to New York Mayor Michael Bloomberg's initiative to plant one million trees in the city by 2017.
The world's highest-earning musicians in 2008, the tour sold 3.7 million tickets and grossed $358 million, making it the third-highest-grossing tour of all time at its conclusion. On 11 November 2008, the Police released Certifiable: Live in Buenos Aires, a Blu-ray, DVD and CD set of the band's two performances in Buenos Aires, Argentina on the tour (1 and 2 December 2007). Those sets with two DVDs also included a documentary shot by Copeland's son Jordan entitled Better Than Therapy as well as some photographs of Buenos Aires taken by Andy Summers.
Musical style
The Police started as a punk rock band, but soon expanded their music vocabulary to incorporate reggae, pop and new wave sonorities to their sound. In his retrospective assessment Stephen Thomas Erlewine of AllMusic argues that the notion of the Police as a punk rock band was true only "in the loosest sense of the term". He states the band's "nervous, reggae-injected pop/rock was punky" and had a "punk spirit" but it "wasn't necessarily punk". A "power trio," The Police are known as a new wave and post-punk band, with many songs falling in the reggae-fusion genre.
Legacy
In 2003, the Police were inducted into the Rock and Roll Hall of Fame in their first year of eligibility. In 2004, Rolling Stone ranked the Police number 70 on their list of the 100 Greatest Artists of All Time, and in 2010, the band were ranked 40th on VH1's 100 Greatest Artists of All Time. Four of the band's five studio albums appeared on Rolling Stone'''s 2003 list of the 500 Greatest Albums of All Time: Ghost in the Machine (number 322), Reggatta de Blanc (number 369), Outlandos d'Amour (number 434), and Synchronicity (number 455). In 2008, Q magazine named Synchronicity among the top 10 British Albums of the 1980s.
The primary songwriter for the Police, Sting was inducted into the Songwriters Hall of Fame in 2002. In Rolling Stone's 2004 list of the 500 greatest songs of all time, "Every Breath You Take" ranked number 84 (the highest new wave song on the list), and "Roxanne" ranked number 388. "Message in a Bottle" ranked number 65 in the magazine's 2008 list of the 100 greatest guitar songs. Q magazine named "Every Breath You Take" among the top 10 British Songs of the 1980s, and in a UK-wide poll by ITV in 2015 it was voted The Nation's Favourite 80s Number One. In May 2019, "Every Breath You Take" was recognized by BMI as being the most performed song in their catalogue, overtaking "You've Lost That Lovin' Feelin'" performed by the Righteous Brothers.
With a string of UK number one albums, the Police were among the most commercially successful British bands of the early 1980s, and with success overseas they are typically regarded as in both the vanguard of the Second British Invasion, and the new wave movement. With a history of playing to large audiences (such as Shea Stadium in 1983), the Police were a featured artist in the stadium rock episode of the 2007 BBC/VH1 series Seven Ages of Rock along with Queen, Led Zeppelin, U2 and Bruce Springsteen. Despite the band's well-documented disagreements with one another, Summers confirmed in 2015 that Sting, Copeland and he are good friends. Summers said, "Despite the general press thing about 'God, they hate each other', it's actually not true, we're very supportive of one another."
DiscographyOutlandos d'Amour (1978)Reggatta de Blanc (1979)Zenyatta Mondatta (1980)Ghost in the Machine (1981)Synchronicity (1983)
Concert tours
The Police Around the World Tour (1977–1980)
Zenyatta Mondatta Tour (1980–1981)
Ghost in the Machine Tour (1981–1982)
Synchronicity Tour (1983–1984)
The Police Reunion Tour (2007–2008)
Band members
Stewart Copeland – drums, percussion, backing and lead vocals, keyboards, guitars (1977–1986, 2003, 2007–2008)
Sting – lead and backing vocals, bass guitar, double bass, keyboards, saxophone, harmonica (1977–1986, 2003, 2007–2008)
Andy Summers – guitars, backing and lead vocals, keyboards (1977–1986, 2003, 2007–2008)
Henry Padovani – guitar (1977; 2007 reunion tour finale, Paris with Sting, Summers, and Copeland)
Awards and nominations
Brit Awards
1982: Best British Group
1985: Outstanding Contribution to Music
Grammy Awards
|-
!scope="row" | 1981
| "Reggatta de Blanc"
| rowspan= "2" | Best Rock Instrumental Performance
|
|-
!scope="row" rowspan= "2" | 1982
| "Behind My Camel"
|
|-
| "Don't Stand So Close to Me"
| Best Rock Performance by a Duo or Group with Vocal
|
|-
!scope="row" rowspan= "4" | 1984
| rowspan= "2" | Synchronicity| Album of the Year
|
|-
| Best Rock Performance by a Duo or Group with Vocal
|
|-
| rowspan= "2" | "Every Breath You Take"
| Record of the Year
|
|-
| Best Pop Performance by a Duo or Group with Vocal
|
|-
!scope="row" | 1986
| The Police Synchronicity Concert
| Best Music Video, Long Form
|
|-
Juno Awards
|-
| rowspan="2" | 1984
| Synchronicity| International Album of the Year
|
People's Choice Awards
|-
| 2008
| Themselves
| Favorite Reunion Tour
|
Rock and Roll Hall of Fame
The Police were inducted into the Rock and Roll Hall of Fame on 10 March 2003.
Other lists
Ranked No.70 on Rolling Stone''s Immortals, the 100 Greatest Artists of All Time.
Ranked No.40 on VH1's List of 100 Greatest Artists of All Time.
See also
List of best-selling music artists
List of highest-grossing concert tours
List of new wave artists
List of reggae rock artists
References
Citations
Sources
External links
thepolice.com
thepolicetour.com
1977 establishments in England
1977 in London
A&M Records artists
Brit Award winners
British musical trios
English new wave musical groups
Grammy Award winners
Juno Award for International Album of the Year winners
Musical groups established in 1977
Musical groups reestablished in 2007
Musical groups disestablished in 2008
Musical groups from London
Reggae rock groups | false | [
"Here Comes That Sound Again is a 1979 disco single by Love De-Luxe, a dance studio group formed by British producer, Alan Hawkshaw. Vicki Brown and Jo-Ann Stone were the lead vocalists on the single.\nThe single hit number one on the dance charts in the middle of 1979, for one week. The single did not cross over to any other chart and Love De-Luxe had no other charted singles in the United States. However, elements from the song were used for the intro to the Sugarhill Gang's hit single \"Rapper's Delight\".\n\nThe song’s chorus would later be sampled in another Billboard Dance Club Songs number one single, \"That Sound\" by Pump Friction, in 1997.\n\nChart performance\n\nReferences\n\n1979 singles\n1979 songs\nDisco songs\nSongs about dancing\nWarner Records singles",
"Return of the 1 Hit Wonder is the fourth album by rapper, Young MC. The album was released in 1997 for Overall Records and was Young MC's first release on an independent record label. While the album did not chart on any album charts, it did have two charting singles; \"Madame Buttafly\" reached No. 25 on the Hot Rap Songs and \"On & Poppin\" reached No. 23. The title refers to Young MC's only Billboard Hot 100 top 10 hit, \"Bust A Move\".\n\nTrack listing\n\"One Hit\" \n\"Freakie\" \n\"On & Poppin'\" \n\"You Ain't Gotta Lie Ta Kick It\" \n\"Madame Buttafly\" \n\"Lingerie\" \n\"Coast 2 Coast\" \n\"Fuel to the Fire\" \n\"Bring It Home\" \n\"Intensify\" \n\"Mr. Right Now\" \n\"On & Poppin'\" (Remix)\n\nReferences\n\nYoung MC albums\n1997 albums"
]
|
[
"The Police",
"1983: Synchronicity and \"The Biggest Band in the World\"",
"What is Synchronicity?",
"In 1983, the Police released their last studio album, Synchronicity,",
"Was it well received?",
"According to Billboard and Guinness' British Hit Singles & Albums the album became a No. 1 album in both the UK (where it debuted at No. 1)",
"Did they tour to promote the album?",
"The Synchronicity Tour began in Chicago, Illinois in July 1983 at the original Comiskey Park,",
"Did they tour in other countries?",
"18 August the band played in front of 70,000 in Shea Stadium, New York. They played throughout the UK in December 1983,",
"Did they receive any awards with this album?",
"It was nominated for Grammy Awards for Album of the Year, but lost to Michael Jackson's Thriller.",
"What was their most popular single?",
"\". \"Every Breath You Take\" also won the Grammy for Best Pop Performance by a Duo or Group with Vocal,",
"Did they have any other hit singles?",
"while \"Synchronicity II\" won the Grammy for Best Rock Performance by a Duo or Group with Vocal."
]
| C_08763f19d12747cba208109797436417_0 | Was The Biggest Band in the World their next album? | 8 | Was The Biggest Band in the World the next album of the Police? | The Police | In 1983, the Police released their last studio album, Synchronicity, which spawned the hit singles "Every Breath You Take", "Wrapped Around Your Finger", "King of Pain", and "Synchronicity II". By that time, several critics deemed them "the biggest rock band in the world." Recording the album, however, was a tense affair with increasing disputes among the band. The three members recorded their contributions individually in separate rooms and over-dubbed at different times. The Synchronicity Tour began in Chicago, Illinois in July 1983 at the original Comiskey Park, and on 18 August the band played in front of 70,000 in Shea Stadium, New York. They played throughout the UK in December 1983, including four sold out nights at London's Wembley Arena, and the tour ended in Melbourne, Australia in March 1984 at the Melbourne Showgrounds (the final concert featured Sunny Boys, Australian Crawl and Bryan Adams, with the Police topping the bill). Sting's look, dominated by his orange-coloured hair (a result from his role in Dune) and tattered clothing, both of which were emphasised in the music videos from the album, carried over into the set for the concert. Except for "King of Pain", the singles were accompanied by music videos directed by Godley & Creme. According to Billboard and Guinness' British Hit Singles & Albums the album became a No. 1 album in both the UK (where it debuted at No. 1) and the US. It stayed at No. 1 in the UK for two weeks and in the US for seventeen weeks. It was nominated for Grammy Awards for Album of the Year, but lost to Michael Jackson's Thriller. "Every Breath You Take" won the Grammy for Song of the Year, beating Jackson's "Billie Jean". "Every Breath You Take" also won the Grammy for Best Pop Performance by a Duo or Group with Vocal, while "Synchronicity II" won the Grammy for Best Rock Performance by a Duo or Group with Vocal. "Every Breath You Take" also won the American Video Award for Best Group video, and the song won two Ivor Novello Awards in the categories Best Song Musically and Lyrically and Most Performed Work from the British Academy of Songwriters, Composers and Authors. CANNOTANSWER | "Every Breath You Take" also won the American Video Award for Best Group video, | The Police were an English rock band formed in London in 1977. For most of their history the line-up consisted of primary songwriter Sting (lead vocals, bass guitar), Andy Summers (guitar) and Stewart Copeland (drums, percussion). The Police became globally popular in the late 1970s and early 1980s. Emerging in the British new wave scene, they played a style of rock influenced by punk, reggae, and jazz.
Their 1978 debut album, Outlandos d'Amour, reached No. 6 on the UK Albums Chart on the strength of the singles "Roxanne" and "Can't Stand Losing You". Their second album, Reggatta de Blanc (1979), became the first of four consecutive No. 1 studio albums in the UK and Australia; its first two singles, "Message in a Bottle" and "Walking on the Moon", became their first UK number ones. Their next two albums, Zenyatta Mondatta (1980) and Ghost in the Machine (1981), led to further critical and commercial success with two songs, "Don't Stand So Close to Me" and "Every Little Thing She Does Is Magic", becoming UK number-one singles and Top 5 hits in other countries; the latter album and single were their breakthrough into the US as both reached the Top 3 there.
Their final studio album, Synchronicity (1983), was No. 1 in the UK, Canada, Australia, Italy and the US, selling over 8 million copies in the US. Its lead single, "Every Breath You Take", became their fifth UK number one, and only US number one. During this time, the band were considered one of the leaders of the Second British Invasion of the US; in 1983 Rolling Stone labelled them "the first British New Wave act to break through in America on a grand scale, and possibly the biggest band in the world." The Police disbanded in 1986, but reunited in early 2007 for a one-off world tour that ended in August 2008. They were the world's highest-earning musicians in 2008, due to their reunion tour.
The Police have sold over 75 million records, making them one of the best-selling bands of all time. The band won a number of music awards, including six Grammy Awards, two Brit Awards—winning Best British Group once, and an MTV Video Music Award. In 2003, they were inducted into the Rock and Roll Hall of Fame. Four of their five studio albums appeared on Rolling Stones list of the "500 Greatest Albums of All Time". The band were included among both Rolling Stones and VH1's lists of the "100 Greatest Artists of All Time".
History
1977: Formation
In late November 1976, while on tour with the British progressive rock band Curved Air in Newcastle upon Tyne, in the northeast of England, the band's American drummer, Stewart Copeland, met and exchanged phone numbers with ambitious singer-bassist (and former schoolteacher) Gordon Sumner a.k.a. Sting (so nicknamed because of his habit of wearing a black-and-yellow striped sweater resembling a wasp), who at the time was playing in a jazz-rock fusion band called Last Exit. On 12 January 1977, Sting relocated to London and, on the day of his arrival, sought out Copeland for a jam session.
Curved Air had recently split up and Copeland, inspired by the contemporary punk rock movement, was eager to form a new band to join the burgeoning London punk scene. While less keen, Sting acknowledged the commercial opportunities, so they formed The Police as a trio, with Corsican guitarist Henry Padovani recruited as the third member. After their debut concert on 1 March 1977 at Alexander's in Newport, Wales (which lasted only ten minutes), the group played London pubs and Punk clubs touring as backing band and support act for Cherry Vanilla and for Wayne County & the Electric Chairs. On 1 May 1977, The Police released on Illegal Records their debut single "Fall Out," recorded at Pathway Studios in Islington, North London on 12 February 1977 (a couple of weeks before the band's debut live performance), with a budget of £150. This is the only Police recording featuring Henry Padovani. Mick Jagger reviewed the single in Sounds magazine.
Also in May 1977, former Gong musician Mike Howlett invited Sting to join him in the band project Strontium 90. The drummer Howlett had in mind, Chris Cutler, was unavailable, so Sting took Copeland. The band's fourth member was guitarist Andy Summers. A decade older than Sting and Copeland, Summers was a music industry veteran who had played with Eric Burdon and the Animals and Kevin Ayers among others. Strontium 90 performed at a Gong reunion concert in Paris on 28 May 1977, and played at a London club (under the name of "the Elevators") in July. The band also recorded several demo tracks: these were released (along with live recordings and an early version of "Every Little Thing She Does Is Magic") 20 years later on the archive album Strontium 90: Police Academy.
Summers's musicality impressed Sting, who was becoming frustrated with Padovani's rudimentary abilities and the limitations they imposed on The Police's potential. Shortly after the Strontium 90 gig, Sting approached Summers to join the band. He agreed, on the condition the band remain a trio, with him replacing Padovani. Restrained by loyalty, Copeland and Sting resisted the idea, and The Police carried on as a four-piece version. However, they only performed live twice: on 25 July 1977 at the Music Machine in London and on 5 August at the Mont de Marsan Punk Festival. Shortly after these two gigs (and an aborted recording session with ex-Velvet Underground member John Cale as producer on 10 August), Summers delivered an ultimatum to the band and Padovani was dismissed leaving him free to join Wayne County & The Electric Chairs. The effect of Summers's arrival was instant: Copeland said: "One by one, Sting's songs had started coming in, and when Andy joined, it opened up new numbers of Sting's we could do, so the material started to get a lot more interesting and Sting started to take a lot more interest in the group."
The Police's power trio line-up of Copeland, Sting, and Summers performed for the first time on 18 August 1977 at Rebecca's club in Birmingham in the West Midlands. A trio was unusual for the time, and this line-up endured for the rest of the band's history. Few punk bands were three-pieces, while contemporary bands pursuing progressive rock, symphonic rock and other sound trends usually expanded their line-ups with support players. The musical background of all three players may have made them suspect to punk purists, with music critic Christopher Gable stating,
The band were also able to draw on influences from reggae to jazz to progressive and pub rock. While still maintaining the main band and attempting to win over punk audiences, Police members continued to moonlight within the art rock scene. In late 1977 and early 1978, Sting and Summers recorded and performed as part of an ensemble led by German experimental composer Eberhard Schoener; Copeland also joined for a time. These performances resulted in three albums, each of them an eclectic mix of rock, electronica and jazz. Various appearances by the Schoener outfit on German television made the German public aware of Sting's unusual high-pitched voice, and helped pave the way for The Police's later popularity.
The bleached-blond hair that became a band trademark happened by accident. In February 1978, the band, desperate for money, was asked to do a commercial for Wrigley's Spearmint chewing gum (directed by Tony Scott) on the condition they dye their hair blond. The commercial was shot with the band, but was shelved and never aired.
1977–1978: Recording contract and Outlandos d'Amour
Copeland's older brother Miles was initially sceptical of the inclusion of Summers in the band, fearing it would undermine their punk credibility, and reluctantly agreed to provide £1,500 to finance The Police's first album. Recording Outlandos d'Amour was difficult, as the band was working on a small budget, with no manager or record deal. It was recorded during off-peak hours at the Surrey Sound Studios in Leatherhead, Surrey, a converted recording facility above a dairy which was run by brothers Chris and Nigel Gray.
During one of his periodic studio visits, Miles heard "Roxanne" for the first time at the end of a session. Where he had been less enthusiastic about the band's other songs, the elder Copeland was immediately struck by the track, and quickly got The Police a record deal with A&M Records on the strength of it. "Roxanne" was issued as a single in the spring of 1978, while other album tracks were still being recorded, but it failed to chart. It also failed to make the BBC's playlist, which the band attributed to the song's depiction of prostitution. A&M consequently promoted the single with posters claiming "Banned by the BBC", though it was never really banned, just not play-listed. Copeland later admitted, "We got a lot of mileage out of it being supposedly banned by the BBC."
The Police made their first television appearance in October 1978, on BBC2's The Old Grey Whistle Test to promote the release of Outlandos d'Amour. Though "Roxanne" was never banned, the BBC did ban the second single from Outlandos d'Amour, "Can't Stand Losing You". This was due to the single's cover, which featured Copeland hanging himself over an ice block being melted by a portable radiator. The single became a minor chart hit, The Police's first, peaking at No. 42 in the UK. The follow-up single, "So Lonely", issued in November 1978, failed to chart. In February 1979, "Roxanne" was issued as a single in North America, where it was warmly received on radio despite the subject matter. The song peaked at No. 31 in Canada and No. 32 in the US, spurring a UK re-release of it in April. The band performed "Roxanne" on BBC1's Top of the Pops, and the re-issue of the song finally gained the band widespread recognition in the UK when it peaked at No. 12 on the UK Singles Chart.
The group's UK success led to gigs in the US at the famous New York City club CBGB, The Rathskeller (The RAT) in Boston and at The Chance in Poughkeepsie, New York, from which "Roxanne" finally debuted on US radio on WPDH, and a gruelling 1979 North American tour in which the band drove themselves and their equipment around the country in a Ford Econoline van. That summer, "Can't Stand Losing You" was also re-released in the UK, becoming a substantial hit, peaking at No. 2. The group's first single, "Fall Out", was reissued in late 1979, peaking at No. 47 in the UK.
1979: Reggatta de Blanc
In October 1979, the group released their second album, Reggatta de Blanc, which topped the UK Albums Chart and became the first of four consecutive UK No. 1 studio albums. The album spawned the hit singles "Message in a Bottle" (No. 1 UK, No. 2 Canada, No. 5 Australia) and "Walking on the Moon" (No. 1 UK). The album's singles failed to enter the US top 40, but Reggatta de Blanc still reached No. 25 on the US album charts.
The band's first live performance of "Message in a Bottle" was on the BBC's television show Rock Goes to College filmed at Hatfield Polytechnic College in Hertfordshire. The instrumental title track "Reggatta de Blanc" won the Grammy Award for Best Rock Instrumental Performance. In February 1980, the single "So Lonely" was reissued in the UK. Originally a non-charting flop when first issued in late 1978, upon re-release the track became a UK top 10 hit, peaking at No. 6.
In March 1980, the Police began their first world tour, which included places that had seldom hosted foreign performers—including Mexico, India, Taiwan, Hong Kong, Greece and Egypt. The tour was subsequently documented in the film The Police Around the World (1982), directed by Kate and Derek Burbidge, which contains footage shot by Annie Nightingale originally intended for a BBC production The Police in the East.
In May 1980, A&M in the UK released Six Pack, a package containing the five previous A&M singles (not including "Fall Out") in their original sleeves plus a mono alternate take of the album track "The Bed's Too Big Without You" backed with a live version of "Truth Hits Everybody". It reached No. 17 in the UK Singles Chart (although chart regulations introduced later in the decade would have classed it as an album).
1980–1981: Zenyatta Mondatta
Pressured by their record company for a new record and a prompt return to touring, the Police released their third album, Zenyatta Mondatta, in October 1980. The album was recorded in a three-week period in the Netherlands for tax reasons. The album gave the group their third UK No. 1 hit, "Don't Stand So Close to Me" (the UK's best-selling single of 1980) and another hit single, "De Do Do Do, De Da Da Da", both of which reached No. 10 in the US.
While the three band members and co-producer Nigel Gray all expressed immediate regret over the rushed recording for the album, which was finished at 4 a.m. on the day the band began their world tour, the album received high praise from critics. The instrumental "Behind My Camel", written by Andy Summers, won the band a Grammy for Best Rock Instrumental Performance, while "Don't Stand So Close to Me" won the Grammy for Best Rock Vocal Performance for Duo or Group.
1981–1982: Ghost in the Machine and Brimstone and Treacle
The Police's fourth album, Ghost in the Machine, co-produced by Hugh Padgham, was recorded at Air Studios on the Caribbean island of Montserrat, with the exception of "Every Little Thing She Does Is Magic" which was recorded at Le Studio at Morin Heights, Quebec, Canada, and released in 1981. It featured thicker sounds, layered saxophones, and vocal textures. It spawned the hit singles "Every Little Thing She Does Is Magic" (featuring pianist Jean Roussel), their fourth UK No. 1 (No. 3 in the U.S.), "Invisible Sun", and "Spirits in the Material World". As the band was unable to agree on a cover picture, the album cover had three red pictographs, digital likenesses of the three band members in the style of segmented LED displays, set against a black background. In the 1980s, Sting and Summers became tax exiles and moved to Ireland (Sting to Roundstone, County Galway, and Summers to Kinsale in County Cork) while Copeland, an American, remained in England. The group opened and closed the 1981 concert film, Urgh! A Music War. The film, which captured the music scene in the wake of punk, was masterminded by Stewart Copeland's brothers Ian and Miles. The film had a limited release but developed a mythic reputation over the years.
At the 1982 Brit Awards in London, the Police received the award for Best British Group. After the Ghost in the Machine Tour concluded in 1982, the group took a sabbatical and each member pursued outside projects. By this time, Sting was becoming a major star, and he established a career beyond the Police by branching out into acting. Back in 1979, he had made a well-received debut as the "Ace Face" in the British drama film Quadrophenia, a film loosely based on The Who's rock opera, followed by a role as a mechanic in love with Eddie Cochran's music in Chris Petit's Radio On. In 1982, Sting furthered his acting career by co-starring in the Richard Loncraine film Brimstone and Treacle. He also had a minor solo hit in the United Kingdom with the movie's theme song, a cover of the 1929 hit "Spread a Little Happiness" (which appeared on the Brimstone & Treacle soundtrack, along with three new Police tracks, "How Stupid Mr Bates", "A Kind of Loving", and "I Burn for You"). Over 1981 and 1982, Summers recorded his first album with Robert Fripp, I Advance Masked.
In 1983, Stewart Copeland composed the musical score for Francis Ford Coppola's film Rumble Fish. The single "Don't Box Me In (theme From Rumble Fish)", a collaboration between Copeland and singer-songwriter Stan Ridgway (of the band Wall of Voodoo) received significant airplay upon release of the film that year. Also in 1983, Sting filmed his first big-budget movie role-playing Feyd-Rautha in David Lynch's Dune. As Sting's fame rose, his relationship with Stewart Copeland deteriorated. Their increasingly strained partnership was further stretched by the pressures of worldwide publicity and fame, conflicting egos, and their financial success. Meanwhile, both Sting's and Summers's marriages failed.
1983: Synchronicity and "The Biggest Band in the World"
In 1983, the Police released their last studio album, Synchronicity, which spawned the hit singles "Every Breath You Take", "Wrapped Around Your Finger", "King of Pain", and "Synchronicity II". By that time, several critics deemed them "the biggest rock band in the world". Recording the album, however, was a tense affair with increasing disputes among the band. The three members recorded their contributions individually in separate rooms and over-dubbed at different times.
The Synchronicity Tour began in Chicago, Illinois in July 1983 at the original Comiskey Park, and on 18 August the band played in front of 70,000 in Shea Stadium, New York. Near the end of the concert, Sting announced: "We'd like to thank the Beatles for lending us their stadium." Looking back, Copeland states, "Playing Shea Stadium was big because, even though I'm a septic tank (rhyming slang for 'Yank'), The Police is an English band and I'm a Londoner – an American Londoner – so it felt like conquering America." They played throughout the UK in December 1983, including four sold out nights at London's Wembley Arena, and the tour ended in Melbourne, Australia on 4 March 1984 at the Melbourne Showgrounds (the final concert featured Sunnyboys, Kids In The Kitchen, Bryan Adams and Australian Crawl, with the Police topping the bill). Sting's look, dominated by his orange-coloured hair (a result of his role in Dune) and tattered clothing, both of which were emphasised in the music videos from the album, carried over into the set for the concert. Except for "King of Pain", the singles were accompanied by music videos directed by Godley & Creme.
Synchronicity became a No. 1 album in both the UK (where it debuted at No. 1) and the US. It stayed at No. 1 in the UK for two weeks and in the US for seventeen weeks. It was nominated for Grammy Awards for Album of the Year, but lost to Michael Jackson's Thriller. "Every Breath You Take" won the Grammy for Song of the Year, beating Jackson's "Billie Jean". "Every Breath You Take" also won the Grammy for Best Pop Performance by a Duo or Group with Vocal, while the album won the Grammy for Best Rock Performance by a Duo or Group with Vocal. "Every Breath You Take" also won the American Video Award for Best Group video, and the song won two Ivor Novello Awards in the categories Best Song Musically and Lyrically and Most Performed Work from the British Academy of Songwriters, Composers, and Authors.
1984–1986: Hiatus, aborted sixth studio album
During the group's 1983 Shea Stadium concert, Sting felt performing at the venue was "Everest" and decided to pursue a solo career, according to the documentary The Last Play at Shea. After the Synchronicity tour ended in March 1984, the band went on hiatus while Sting recorded and toured in support of his successful solo debut LP, the jazz-influenced The Dream of the Blue Turtles, released in June 1985; Copeland recorded and filmed The Rhythmatist (1985); and Summers recorded another album with Robert Fripp (Bewitched, 1984) and the theme song for the film 2010—which was not used in the film, but included on the soundtrack album. At the 1985 Brit Awards held at London's Grosvenor Hotel on 11 February, the band received the award for Outstanding Contribution to Music. In July the same year, Sting and Copeland participated in Live Aid at Wembley Stadium, London.
In June 1986, the Police reconvened to play three concerts for the Amnesty International A Conspiracy of Hope tour. Their last performance on stage before their split was on 15 June at Giants Stadium in New Jersey. They ended their set with "Invisible Sun", bringing out Bono to sing the final verse. When they finished, they handed U2 their instruments for the all-star finale of "I Shall Be Released". As the lead singer of U2 – who themselves would soon be regarded as the biggest band in the world – Bono stated, "It was a very big moment, like passing a torch."
In July of that year, the trio reunited in the studio to record a new album. However, Copeland broke his collarbone in a fall from a horse and was unable to play the drums. As a result of the tense and short-lived reunion in the studio, "Don't Stand So Close to Me '86" was released in October 1986 as their final single and made it into the UK Top 25. It also appeared on the 1986 compilation Every Breath You Take: The Singles, which reached No. 1 in the UK album charts. A rerecorded version of "De Do Do Do De Da Da Da" was subsequently also included on the DTS-CD release of the Every Breath You Take: The Classics album in 1995. The album has sold over five million copies in the US.
Following the failed effort to record a new studio album, the Police effectively disbanded. In the liner notes to the Police's box set Message in a Box, Summers explains: "The attempt to record a new album was doomed from the outset. The night before we went into the studio Stewart broke his collarbone falling off a horse and that meant we lost our last chance of recovering some rapport just by jamming together. Anyway, it was clear Sting had no real intention of writing any new songs for the Police. It was an empty exercise."
1986–2006: Disbandment
Each band member continued with his solo career over the next 20 years. Sting continued recording and touring as a solo performer to great success. Summers recorded a number of albums, both as a solo artist and in collaboration with other musicians. Copeland became a prolific producer of movie and television soundtracks, and he recorded and toured with two new bands, Animal Logic and Oysterhead. However, a few events did bring the Police back together, albeit briefly. Summers played guitar on Sting's album ...Nothing Like the Sun (1987), a favour the singer returned by playing bass on Summers' album Charming Snakes (1989) and later singing lead vocals on "'Round Midnight" for Summers' tribute to Thelonious Monk Green Chimneys (1999). On 2 October 1991 (Sting's 40th birthday), Summers joined Sting on stage at the Hollywood Bowl during The Soul Cages Tour to perform "Walking on the Moon", "Every Breath You Take", and "Message in a Bottle". The performance was broadcast as a pay-per-view event.
On 22 August 1992, Sting married Trudie Styler in an 11th-century chapel in Wiltshire, southwest England. Summers and Copeland were invited to the ceremony and reception. Aware that all band members were present, the wedding guests pressured the trio into playing, and they performed "Roxanne" and "Message in a Bottle". Copeland said later that "after about three minutes, it became 'the thing' again". In 1995 A&M released Live!, a double live album produced by Summers featuring two complete concerts—one recorded on 27 November 1979 at the Orpheum Theatre in Boston during the Reggatta de Blanc tour, and one recorded on 2 November 1983 at the Omni in Atlanta, Georgia, during the Synchronicity Tour (the latter was also documented in the VHS tape Synchronicity Concert in 1984).
On 10 March 2003, the Police were inducted into the Rock and Roll Hall of Fame and performed "Roxanne", "Message in a Bottle", and "Every Breath You Take" live, as a group (the last song was performed alongside Steven Tyler, Gwen Stefani, and John Mayer). In the autumn of 2003, Sting released his autobiography, Broken Music.
In 2004, Copeland and Summers joined Incubus onstage at KROQ's Almost Acoustic Christmas concert in Los Angeles performing "Roxanne" and "Message in a Bottle". In 2004, Henry Padovani released an album with the participation of Copeland and Sting on one track, reuniting the original Police line-up for the first time since 1977. Also in 2004, Rolling Stone ranked the Police No. 70 on their list of the 100 Greatest Artists of All Time.
In 2006, Stewart Copeland released a rockumentary about the band called Everyone Stares: The Police Inside Out, based on Super-8 filming he did when the band was touring and recording in the late 1970s and early 1980s. In October 2006, Andy Summers released One Train Later, an autobiographical memoir detailing his early career and time with the band.
2007–2008: Reunion tour
In early 2007, reports surfaced the trio would reunite for a tour to mark the Police's 30th anniversary, more than 20 years since their split in 1986. On 22 January 2007, the punk wave magazine Side-Line broke the story the Police would reunite for the Grammys, and would perform "Roxanne". Side-Line also stated the Police were to embark on a massive world tour. Billboard magazine later confirmed the news, quoting Summers' 2006 statement as to how the band could have continued post-Synchronicity: "The more rational approach would have been, 'OK, Sting, go make a solo record, and let's get back together in two or three years.' I'm certain we could have done that. Of course we could have. We were definitely not in a creative dry space. We could have easily carried on, and we could probably still be there. That wasn't to be our fate. It went in another way. I regret we never paid it off with a last tour." The band opened the 49th Annual Grammy Awards on 11 February 2007 in Los Angeles, announcing, "Ladies and gentlemen, we are The Police, and we're back!" before launching into "Roxanne".
A&M, the band's record company, promoted the 2007–08 reunion tour as the 30th anniversary of the band's formation and of the release of their first single for A&M, "Roxanne". The Police Reunion Tour began in late May 2007 with two shows in Vancouver. Stewart Copeland gave a scathing review of the show on his own website, which the press interpreted as a feud occurring two gigs into the tour. Copeland later apologised for besmirching "my buddy Sting," and chalked up the comments to "hyper self-criticism".
Tickets for the British leg of the tour sold out within 30 minutes, and the band played two nights at Twickenham Stadium on 8 and 9 September. On 29 and 30 September 2007, Henry Padovani joined the group on stage for the final encore of their two shows in Paris, playing the song "Next to You" as a four-piece band. In October 2007, the group played the largest gig of the reunion tour in Dublin in front of 82,000 fans. The group headlined the TW Classic festival in Werchter, Belgium on 7 June 2008. They also headlined the last night of the 2008 Isle of Wight Festival on 15 June, the Heineken Jammin' Festival in Venice on 23 June and the Sunday night at Hard Rock Calling (previously called Hyde Park Calling) in London on 29 June.
In February 2008, the band announced that, when the tour finished, they would break up again. "There will be no new album, no big new tour," said Sting. "Once we're done with our reunion tour, that's it for The Police." The final show of the tour was on 7 August 2008 at Madison Square Garden in New York City. The band performed the opening song, "Message in a Bottle", with the brass band of the New York Metropolitan Police Corp. Later, they performed "Sunshine of Your Love" and "Purple Haze" as a tribute to the rock trios that preceded them: Cream and The Jimi Hendrix Experience. While announcing the show, the group also donated $1 million to New York Mayor Michael Bloomberg's initiative to plant one million trees in the city by 2017.
The world's highest-earning musicians in 2008, the tour sold 3.7 million tickets and grossed $358 million, making it the third-highest-grossing tour of all time at its conclusion. On 11 November 2008, the Police released Certifiable: Live in Buenos Aires, a Blu-ray, DVD and CD set of the band's two performances in Buenos Aires, Argentina on the tour (1 and 2 December 2007). Those sets with two DVDs also included a documentary shot by Copeland's son Jordan entitled Better Than Therapy as well as some photographs of Buenos Aires taken by Andy Summers.
Musical style
The Police started as a punk rock band, but soon expanded their music vocabulary to incorporate reggae, pop and new wave sonorities to their sound. In his retrospective assessment Stephen Thomas Erlewine of AllMusic argues that the notion of the Police as a punk rock band was true only "in the loosest sense of the term". He states the band's "nervous, reggae-injected pop/rock was punky" and had a "punk spirit" but it "wasn't necessarily punk". A "power trio," The Police are known as a new wave and post-punk band, with many songs falling in the reggae-fusion genre.
Legacy
In 2003, the Police were inducted into the Rock and Roll Hall of Fame in their first year of eligibility. In 2004, Rolling Stone ranked the Police number 70 on their list of the 100 Greatest Artists of All Time, and in 2010, the band were ranked 40th on VH1's 100 Greatest Artists of All Time. Four of the band's five studio albums appeared on Rolling Stone'''s 2003 list of the 500 Greatest Albums of All Time: Ghost in the Machine (number 322), Reggatta de Blanc (number 369), Outlandos d'Amour (number 434), and Synchronicity (number 455). In 2008, Q magazine named Synchronicity among the top 10 British Albums of the 1980s.
The primary songwriter for the Police, Sting was inducted into the Songwriters Hall of Fame in 2002. In Rolling Stone's 2004 list of the 500 greatest songs of all time, "Every Breath You Take" ranked number 84 (the highest new wave song on the list), and "Roxanne" ranked number 388. "Message in a Bottle" ranked number 65 in the magazine's 2008 list of the 100 greatest guitar songs. Q magazine named "Every Breath You Take" among the top 10 British Songs of the 1980s, and in a UK-wide poll by ITV in 2015 it was voted The Nation's Favourite 80s Number One. In May 2019, "Every Breath You Take" was recognized by BMI as being the most performed song in their catalogue, overtaking "You've Lost That Lovin' Feelin'" performed by the Righteous Brothers.
With a string of UK number one albums, the Police were among the most commercially successful British bands of the early 1980s, and with success overseas they are typically regarded as in both the vanguard of the Second British Invasion, and the new wave movement. With a history of playing to large audiences (such as Shea Stadium in 1983), the Police were a featured artist in the stadium rock episode of the 2007 BBC/VH1 series Seven Ages of Rock along with Queen, Led Zeppelin, U2 and Bruce Springsteen. Despite the band's well-documented disagreements with one another, Summers confirmed in 2015 that Sting, Copeland and he are good friends. Summers said, "Despite the general press thing about 'God, they hate each other', it's actually not true, we're very supportive of one another."
DiscographyOutlandos d'Amour (1978)Reggatta de Blanc (1979)Zenyatta Mondatta (1980)Ghost in the Machine (1981)Synchronicity (1983)
Concert tours
The Police Around the World Tour (1977–1980)
Zenyatta Mondatta Tour (1980–1981)
Ghost in the Machine Tour (1981–1982)
Synchronicity Tour (1983–1984)
The Police Reunion Tour (2007–2008)
Band members
Stewart Copeland – drums, percussion, backing and lead vocals, keyboards, guitars (1977–1986, 2003, 2007–2008)
Sting – lead and backing vocals, bass guitar, double bass, keyboards, saxophone, harmonica (1977–1986, 2003, 2007–2008)
Andy Summers – guitars, backing and lead vocals, keyboards (1977–1986, 2003, 2007–2008)
Henry Padovani – guitar (1977; 2007 reunion tour finale, Paris with Sting, Summers, and Copeland)
Awards and nominations
Brit Awards
1982: Best British Group
1985: Outstanding Contribution to Music
Grammy Awards
|-
!scope="row" | 1981
| "Reggatta de Blanc"
| rowspan= "2" | Best Rock Instrumental Performance
|
|-
!scope="row" rowspan= "2" | 1982
| "Behind My Camel"
|
|-
| "Don't Stand So Close to Me"
| Best Rock Performance by a Duo or Group with Vocal
|
|-
!scope="row" rowspan= "4" | 1984
| rowspan= "2" | Synchronicity| Album of the Year
|
|-
| Best Rock Performance by a Duo or Group with Vocal
|
|-
| rowspan= "2" | "Every Breath You Take"
| Record of the Year
|
|-
| Best Pop Performance by a Duo or Group with Vocal
|
|-
!scope="row" | 1986
| The Police Synchronicity Concert
| Best Music Video, Long Form
|
|-
Juno Awards
|-
| rowspan="2" | 1984
| Synchronicity| International Album of the Year
|
People's Choice Awards
|-
| 2008
| Themselves
| Favorite Reunion Tour
|
Rock and Roll Hall of Fame
The Police were inducted into the Rock and Roll Hall of Fame on 10 March 2003.
Other lists
Ranked No.70 on Rolling Stone''s Immortals, the 100 Greatest Artists of All Time.
Ranked No.40 on VH1's List of 100 Greatest Artists of All Time.
See also
List of best-selling music artists
List of highest-grossing concert tours
List of new wave artists
List of reggae rock artists
References
Citations
Sources
External links
thepolice.com
thepolicetour.com
1977 establishments in England
1977 in London
A&M Records artists
Brit Award winners
British musical trios
English new wave musical groups
Grammy Award winners
Juno Award for International Album of the Year winners
Musical groups established in 1977
Musical groups reestablished in 2007
Musical groups disestablished in 2008
Musical groups from London
Reggae rock groups | true | [
"The discography of Yeasayer, an American experimental rock band, consists of five studio albums, eighteen singles, two live albums and four extended plays (EPs).\n\nYeasayer's first album All Hour Cymbals was released in 2007 to critical praise. In 2010 the band released the critically acclaimed Odd Blood with the album scoring the group's first chart success around the world. The album produced several world charting singles such as \"Ambling Alp\", \"O.N.E.\" and \"Madder Red\". In late 2011 the band started work on their third album Fragrant World. The album was released in the summer of 2012 and gave the band their biggest hit album. Charting in the top 50 in many countries and peaking number 44 on the Billboard 200, the album is the band's highest charting album in the US to date.\n\nFollowing the band's third album, Yeasayer started recording for their fourth album Amen & Goodbye. The album was delayed heavily due to a storm that had destroyed much of the recording tapes. It was released in 2016 after a four-year gap between albums, the longest in the band's career. The group's fifth album Erotic Reruns was released on June 7, 2019 and was the first album to release on the band's own imprint label \"Yeasayer Records\"\n\nAlbums\n\nStudio albums\n\nLive albums\n\nExtended plays\n\nSingles\n\nOther appearances\n\nMusic videos\n\nNotes\n\nReferences\n\nExternal links \n\nDiscographies of American artists\nRock music group discographies\nAlternative rock discographies",
"Deen Next Stage is the ninth studio album by Japanese pop band Deen. It was released on 25 February 2009 under BMG Japan.\n\nBackground\nThe release gasp between previous album Diamonds are two and half year.\nIt makes the biggest release gasp of recording in their whole career.\n\nThe album consists of only one previously released single, Eien no Ashita.\n\nLeader Kouji Yamane will perform in the album his solo song \"Lonely Wolf\".\n\nLeading track Eien no Ashita has received special ballad version exclusively for this album.\n\nThis album was released in two formats: regular CD edition and limited CD+DVD edition. In DVD disc is countdown live from their performance Deen Live Joy Break-13~Next Stage~.\n\nThis is their last album which was released under BMG Japan. On their next album Lovers Concerto, they moved to different music label, Ariola Japan.\n\nCharting performance\nThe album reached #16 in its first week and charted for 3 weeks, selling 12,000 copies.\n\nTrack listing\n\nIn media\nEien no Ashita - theme song for Nintendo DS game Tales of Hearts\n\nReferences\n\nSony Music albums\nJapanese-language albums\n2009 albums\nDeen (band) albums"
]
|
[
"The Police",
"1983: Synchronicity and \"The Biggest Band in the World\"",
"What is Synchronicity?",
"In 1983, the Police released their last studio album, Synchronicity,",
"Was it well received?",
"According to Billboard and Guinness' British Hit Singles & Albums the album became a No. 1 album in both the UK (where it debuted at No. 1)",
"Did they tour to promote the album?",
"The Synchronicity Tour began in Chicago, Illinois in July 1983 at the original Comiskey Park,",
"Did they tour in other countries?",
"18 August the band played in front of 70,000 in Shea Stadium, New York. They played throughout the UK in December 1983,",
"Did they receive any awards with this album?",
"It was nominated for Grammy Awards for Album of the Year, but lost to Michael Jackson's Thriller.",
"What was their most popular single?",
"\". \"Every Breath You Take\" also won the Grammy for Best Pop Performance by a Duo or Group with Vocal,",
"Did they have any other hit singles?",
"while \"Synchronicity II\" won the Grammy for Best Rock Performance by a Duo or Group with Vocal.",
"Was The Biggest Band in the World their next album?",
"\"Every Breath You Take\" also won the American Video Award for Best Group video,"
]
| C_08763f19d12747cba208109797436417_0 | Did it win any other awards or merits? | 9 | Besides the American Video Award for Best Group video, did "Every Breath You Take" win any other awards or merits? | The Police | In 1983, the Police released their last studio album, Synchronicity, which spawned the hit singles "Every Breath You Take", "Wrapped Around Your Finger", "King of Pain", and "Synchronicity II". By that time, several critics deemed them "the biggest rock band in the world." Recording the album, however, was a tense affair with increasing disputes among the band. The three members recorded their contributions individually in separate rooms and over-dubbed at different times. The Synchronicity Tour began in Chicago, Illinois in July 1983 at the original Comiskey Park, and on 18 August the band played in front of 70,000 in Shea Stadium, New York. They played throughout the UK in December 1983, including four sold out nights at London's Wembley Arena, and the tour ended in Melbourne, Australia in March 1984 at the Melbourne Showgrounds (the final concert featured Sunny Boys, Australian Crawl and Bryan Adams, with the Police topping the bill). Sting's look, dominated by his orange-coloured hair (a result from his role in Dune) and tattered clothing, both of which were emphasised in the music videos from the album, carried over into the set for the concert. Except for "King of Pain", the singles were accompanied by music videos directed by Godley & Creme. According to Billboard and Guinness' British Hit Singles & Albums the album became a No. 1 album in both the UK (where it debuted at No. 1) and the US. It stayed at No. 1 in the UK for two weeks and in the US for seventeen weeks. It was nominated for Grammy Awards for Album of the Year, but lost to Michael Jackson's Thriller. "Every Breath You Take" won the Grammy for Song of the Year, beating Jackson's "Billie Jean". "Every Breath You Take" also won the Grammy for Best Pop Performance by a Duo or Group with Vocal, while "Synchronicity II" won the Grammy for Best Rock Performance by a Duo or Group with Vocal. "Every Breath You Take" also won the American Video Award for Best Group video, and the song won two Ivor Novello Awards in the categories Best Song Musically and Lyrically and Most Performed Work from the British Academy of Songwriters, Composers and Authors. CANNOTANSWER | the song won two Ivor Novello Awards in the categories Best Song Musically and Lyrically | The Police were an English rock band formed in London in 1977. For most of their history the line-up consisted of primary songwriter Sting (lead vocals, bass guitar), Andy Summers (guitar) and Stewart Copeland (drums, percussion). The Police became globally popular in the late 1970s and early 1980s. Emerging in the British new wave scene, they played a style of rock influenced by punk, reggae, and jazz.
Their 1978 debut album, Outlandos d'Amour, reached No. 6 on the UK Albums Chart on the strength of the singles "Roxanne" and "Can't Stand Losing You". Their second album, Reggatta de Blanc (1979), became the first of four consecutive No. 1 studio albums in the UK and Australia; its first two singles, "Message in a Bottle" and "Walking on the Moon", became their first UK number ones. Their next two albums, Zenyatta Mondatta (1980) and Ghost in the Machine (1981), led to further critical and commercial success with two songs, "Don't Stand So Close to Me" and "Every Little Thing She Does Is Magic", becoming UK number-one singles and Top 5 hits in other countries; the latter album and single were their breakthrough into the US as both reached the Top 3 there.
Their final studio album, Synchronicity (1983), was No. 1 in the UK, Canada, Australia, Italy and the US, selling over 8 million copies in the US. Its lead single, "Every Breath You Take", became their fifth UK number one, and only US number one. During this time, the band were considered one of the leaders of the Second British Invasion of the US; in 1983 Rolling Stone labelled them "the first British New Wave act to break through in America on a grand scale, and possibly the biggest band in the world." The Police disbanded in 1986, but reunited in early 2007 for a one-off world tour that ended in August 2008. They were the world's highest-earning musicians in 2008, due to their reunion tour.
The Police have sold over 75 million records, making them one of the best-selling bands of all time. The band won a number of music awards, including six Grammy Awards, two Brit Awards—winning Best British Group once, and an MTV Video Music Award. In 2003, they were inducted into the Rock and Roll Hall of Fame. Four of their five studio albums appeared on Rolling Stones list of the "500 Greatest Albums of All Time". The band were included among both Rolling Stones and VH1's lists of the "100 Greatest Artists of All Time".
History
1977: Formation
In late November 1976, while on tour with the British progressive rock band Curved Air in Newcastle upon Tyne, in the northeast of England, the band's American drummer, Stewart Copeland, met and exchanged phone numbers with ambitious singer-bassist (and former schoolteacher) Gordon Sumner a.k.a. Sting (so nicknamed because of his habit of wearing a black-and-yellow striped sweater resembling a wasp), who at the time was playing in a jazz-rock fusion band called Last Exit. On 12 January 1977, Sting relocated to London and, on the day of his arrival, sought out Copeland for a jam session.
Curved Air had recently split up and Copeland, inspired by the contemporary punk rock movement, was eager to form a new band to join the burgeoning London punk scene. While less keen, Sting acknowledged the commercial opportunities, so they formed The Police as a trio, with Corsican guitarist Henry Padovani recruited as the third member. After their debut concert on 1 March 1977 at Alexander's in Newport, Wales (which lasted only ten minutes), the group played London pubs and Punk clubs touring as backing band and support act for Cherry Vanilla and for Wayne County & the Electric Chairs. On 1 May 1977, The Police released on Illegal Records their debut single "Fall Out," recorded at Pathway Studios in Islington, North London on 12 February 1977 (a couple of weeks before the band's debut live performance), with a budget of £150. This is the only Police recording featuring Henry Padovani. Mick Jagger reviewed the single in Sounds magazine.
Also in May 1977, former Gong musician Mike Howlett invited Sting to join him in the band project Strontium 90. The drummer Howlett had in mind, Chris Cutler, was unavailable, so Sting took Copeland. The band's fourth member was guitarist Andy Summers. A decade older than Sting and Copeland, Summers was a music industry veteran who had played with Eric Burdon and the Animals and Kevin Ayers among others. Strontium 90 performed at a Gong reunion concert in Paris on 28 May 1977, and played at a London club (under the name of "the Elevators") in July. The band also recorded several demo tracks: these were released (along with live recordings and an early version of "Every Little Thing She Does Is Magic") 20 years later on the archive album Strontium 90: Police Academy.
Summers's musicality impressed Sting, who was becoming frustrated with Padovani's rudimentary abilities and the limitations they imposed on The Police's potential. Shortly after the Strontium 90 gig, Sting approached Summers to join the band. He agreed, on the condition the band remain a trio, with him replacing Padovani. Restrained by loyalty, Copeland and Sting resisted the idea, and The Police carried on as a four-piece version. However, they only performed live twice: on 25 July 1977 at the Music Machine in London and on 5 August at the Mont de Marsan Punk Festival. Shortly after these two gigs (and an aborted recording session with ex-Velvet Underground member John Cale as producer on 10 August), Summers delivered an ultimatum to the band and Padovani was dismissed leaving him free to join Wayne County & The Electric Chairs. The effect of Summers's arrival was instant: Copeland said: "One by one, Sting's songs had started coming in, and when Andy joined, it opened up new numbers of Sting's we could do, so the material started to get a lot more interesting and Sting started to take a lot more interest in the group."
The Police's power trio line-up of Copeland, Sting, and Summers performed for the first time on 18 August 1977 at Rebecca's club in Birmingham in the West Midlands. A trio was unusual for the time, and this line-up endured for the rest of the band's history. Few punk bands were three-pieces, while contemporary bands pursuing progressive rock, symphonic rock and other sound trends usually expanded their line-ups with support players. The musical background of all three players may have made them suspect to punk purists, with music critic Christopher Gable stating,
The band were also able to draw on influences from reggae to jazz to progressive and pub rock. While still maintaining the main band and attempting to win over punk audiences, Police members continued to moonlight within the art rock scene. In late 1977 and early 1978, Sting and Summers recorded and performed as part of an ensemble led by German experimental composer Eberhard Schoener; Copeland also joined for a time. These performances resulted in three albums, each of them an eclectic mix of rock, electronica and jazz. Various appearances by the Schoener outfit on German television made the German public aware of Sting's unusual high-pitched voice, and helped pave the way for The Police's later popularity.
The bleached-blond hair that became a band trademark happened by accident. In February 1978, the band, desperate for money, was asked to do a commercial for Wrigley's Spearmint chewing gum (directed by Tony Scott) on the condition they dye their hair blond. The commercial was shot with the band, but was shelved and never aired.
1977–1978: Recording contract and Outlandos d'Amour
Copeland's older brother Miles was initially sceptical of the inclusion of Summers in the band, fearing it would undermine their punk credibility, and reluctantly agreed to provide £1,500 to finance The Police's first album. Recording Outlandos d'Amour was difficult, as the band was working on a small budget, with no manager or record deal. It was recorded during off-peak hours at the Surrey Sound Studios in Leatherhead, Surrey, a converted recording facility above a dairy which was run by brothers Chris and Nigel Gray.
During one of his periodic studio visits, Miles heard "Roxanne" for the first time at the end of a session. Where he had been less enthusiastic about the band's other songs, the elder Copeland was immediately struck by the track, and quickly got The Police a record deal with A&M Records on the strength of it. "Roxanne" was issued as a single in the spring of 1978, while other album tracks were still being recorded, but it failed to chart. It also failed to make the BBC's playlist, which the band attributed to the song's depiction of prostitution. A&M consequently promoted the single with posters claiming "Banned by the BBC", though it was never really banned, just not play-listed. Copeland later admitted, "We got a lot of mileage out of it being supposedly banned by the BBC."
The Police made their first television appearance in October 1978, on BBC2's The Old Grey Whistle Test to promote the release of Outlandos d'Amour. Though "Roxanne" was never banned, the BBC did ban the second single from Outlandos d'Amour, "Can't Stand Losing You". This was due to the single's cover, which featured Copeland hanging himself over an ice block being melted by a portable radiator. The single became a minor chart hit, The Police's first, peaking at No. 42 in the UK. The follow-up single, "So Lonely", issued in November 1978, failed to chart. In February 1979, "Roxanne" was issued as a single in North America, where it was warmly received on radio despite the subject matter. The song peaked at No. 31 in Canada and No. 32 in the US, spurring a UK re-release of it in April. The band performed "Roxanne" on BBC1's Top of the Pops, and the re-issue of the song finally gained the band widespread recognition in the UK when it peaked at No. 12 on the UK Singles Chart.
The group's UK success led to gigs in the US at the famous New York City club CBGB, The Rathskeller (The RAT) in Boston and at The Chance in Poughkeepsie, New York, from which "Roxanne" finally debuted on US radio on WPDH, and a gruelling 1979 North American tour in which the band drove themselves and their equipment around the country in a Ford Econoline van. That summer, "Can't Stand Losing You" was also re-released in the UK, becoming a substantial hit, peaking at No. 2. The group's first single, "Fall Out", was reissued in late 1979, peaking at No. 47 in the UK.
1979: Reggatta de Blanc
In October 1979, the group released their second album, Reggatta de Blanc, which topped the UK Albums Chart and became the first of four consecutive UK No. 1 studio albums. The album spawned the hit singles "Message in a Bottle" (No. 1 UK, No. 2 Canada, No. 5 Australia) and "Walking on the Moon" (No. 1 UK). The album's singles failed to enter the US top 40, but Reggatta de Blanc still reached No. 25 on the US album charts.
The band's first live performance of "Message in a Bottle" was on the BBC's television show Rock Goes to College filmed at Hatfield Polytechnic College in Hertfordshire. The instrumental title track "Reggatta de Blanc" won the Grammy Award for Best Rock Instrumental Performance. In February 1980, the single "So Lonely" was reissued in the UK. Originally a non-charting flop when first issued in late 1978, upon re-release the track became a UK top 10 hit, peaking at No. 6.
In March 1980, the Police began their first world tour, which included places that had seldom hosted foreign performers—including Mexico, India, Taiwan, Hong Kong, Greece and Egypt. The tour was subsequently documented in the film The Police Around the World (1982), directed by Kate and Derek Burbidge, which contains footage shot by Annie Nightingale originally intended for a BBC production The Police in the East.
In May 1980, A&M in the UK released Six Pack, a package containing the five previous A&M singles (not including "Fall Out") in their original sleeves plus a mono alternate take of the album track "The Bed's Too Big Without You" backed with a live version of "Truth Hits Everybody". It reached No. 17 in the UK Singles Chart (although chart regulations introduced later in the decade would have classed it as an album).
1980–1981: Zenyatta Mondatta
Pressured by their record company for a new record and a prompt return to touring, the Police released their third album, Zenyatta Mondatta, in October 1980. The album was recorded in a three-week period in the Netherlands for tax reasons. The album gave the group their third UK No. 1 hit, "Don't Stand So Close to Me" (the UK's best-selling single of 1980) and another hit single, "De Do Do Do, De Da Da Da", both of which reached No. 10 in the US.
While the three band members and co-producer Nigel Gray all expressed immediate regret over the rushed recording for the album, which was finished at 4 a.m. on the day the band began their world tour, the album received high praise from critics. The instrumental "Behind My Camel", written by Andy Summers, won the band a Grammy for Best Rock Instrumental Performance, while "Don't Stand So Close to Me" won the Grammy for Best Rock Vocal Performance for Duo or Group.
1981–1982: Ghost in the Machine and Brimstone and Treacle
The Police's fourth album, Ghost in the Machine, co-produced by Hugh Padgham, was recorded at Air Studios on the Caribbean island of Montserrat, with the exception of "Every Little Thing She Does Is Magic" which was recorded at Le Studio at Morin Heights, Quebec, Canada, and released in 1981. It featured thicker sounds, layered saxophones, and vocal textures. It spawned the hit singles "Every Little Thing She Does Is Magic" (featuring pianist Jean Roussel), their fourth UK No. 1 (No. 3 in the U.S.), "Invisible Sun", and "Spirits in the Material World". As the band was unable to agree on a cover picture, the album cover had three red pictographs, digital likenesses of the three band members in the style of segmented LED displays, set against a black background. In the 1980s, Sting and Summers became tax exiles and moved to Ireland (Sting to Roundstone, County Galway, and Summers to Kinsale in County Cork) while Copeland, an American, remained in England. The group opened and closed the 1981 concert film, Urgh! A Music War. The film, which captured the music scene in the wake of punk, was masterminded by Stewart Copeland's brothers Ian and Miles. The film had a limited release but developed a mythic reputation over the years.
At the 1982 Brit Awards in London, the Police received the award for Best British Group. After the Ghost in the Machine Tour concluded in 1982, the group took a sabbatical and each member pursued outside projects. By this time, Sting was becoming a major star, and he established a career beyond the Police by branching out into acting. Back in 1979, he had made a well-received debut as the "Ace Face" in the British drama film Quadrophenia, a film loosely based on The Who's rock opera, followed by a role as a mechanic in love with Eddie Cochran's music in Chris Petit's Radio On. In 1982, Sting furthered his acting career by co-starring in the Richard Loncraine film Brimstone and Treacle. He also had a minor solo hit in the United Kingdom with the movie's theme song, a cover of the 1929 hit "Spread a Little Happiness" (which appeared on the Brimstone & Treacle soundtrack, along with three new Police tracks, "How Stupid Mr Bates", "A Kind of Loving", and "I Burn for You"). Over 1981 and 1982, Summers recorded his first album with Robert Fripp, I Advance Masked.
In 1983, Stewart Copeland composed the musical score for Francis Ford Coppola's film Rumble Fish. The single "Don't Box Me In (theme From Rumble Fish)", a collaboration between Copeland and singer-songwriter Stan Ridgway (of the band Wall of Voodoo) received significant airplay upon release of the film that year. Also in 1983, Sting filmed his first big-budget movie role-playing Feyd-Rautha in David Lynch's Dune. As Sting's fame rose, his relationship with Stewart Copeland deteriorated. Their increasingly strained partnership was further stretched by the pressures of worldwide publicity and fame, conflicting egos, and their financial success. Meanwhile, both Sting's and Summers's marriages failed.
1983: Synchronicity and "The Biggest Band in the World"
In 1983, the Police released their last studio album, Synchronicity, which spawned the hit singles "Every Breath You Take", "Wrapped Around Your Finger", "King of Pain", and "Synchronicity II". By that time, several critics deemed them "the biggest rock band in the world". Recording the album, however, was a tense affair with increasing disputes among the band. The three members recorded their contributions individually in separate rooms and over-dubbed at different times.
The Synchronicity Tour began in Chicago, Illinois in July 1983 at the original Comiskey Park, and on 18 August the band played in front of 70,000 in Shea Stadium, New York. Near the end of the concert, Sting announced: "We'd like to thank the Beatles for lending us their stadium." Looking back, Copeland states, "Playing Shea Stadium was big because, even though I'm a septic tank (rhyming slang for 'Yank'), The Police is an English band and I'm a Londoner – an American Londoner – so it felt like conquering America." They played throughout the UK in December 1983, including four sold out nights at London's Wembley Arena, and the tour ended in Melbourne, Australia on 4 March 1984 at the Melbourne Showgrounds (the final concert featured Sunnyboys, Kids In The Kitchen, Bryan Adams and Australian Crawl, with the Police topping the bill). Sting's look, dominated by his orange-coloured hair (a result of his role in Dune) and tattered clothing, both of which were emphasised in the music videos from the album, carried over into the set for the concert. Except for "King of Pain", the singles were accompanied by music videos directed by Godley & Creme.
Synchronicity became a No. 1 album in both the UK (where it debuted at No. 1) and the US. It stayed at No. 1 in the UK for two weeks and in the US for seventeen weeks. It was nominated for Grammy Awards for Album of the Year, but lost to Michael Jackson's Thriller. "Every Breath You Take" won the Grammy for Song of the Year, beating Jackson's "Billie Jean". "Every Breath You Take" also won the Grammy for Best Pop Performance by a Duo or Group with Vocal, while the album won the Grammy for Best Rock Performance by a Duo or Group with Vocal. "Every Breath You Take" also won the American Video Award for Best Group video, and the song won two Ivor Novello Awards in the categories Best Song Musically and Lyrically and Most Performed Work from the British Academy of Songwriters, Composers, and Authors.
1984–1986: Hiatus, aborted sixth studio album
During the group's 1983 Shea Stadium concert, Sting felt performing at the venue was "Everest" and decided to pursue a solo career, according to the documentary The Last Play at Shea. After the Synchronicity tour ended in March 1984, the band went on hiatus while Sting recorded and toured in support of his successful solo debut LP, the jazz-influenced The Dream of the Blue Turtles, released in June 1985; Copeland recorded and filmed The Rhythmatist (1985); and Summers recorded another album with Robert Fripp (Bewitched, 1984) and the theme song for the film 2010—which was not used in the film, but included on the soundtrack album. At the 1985 Brit Awards held at London's Grosvenor Hotel on 11 February, the band received the award for Outstanding Contribution to Music. In July the same year, Sting and Copeland participated in Live Aid at Wembley Stadium, London.
In June 1986, the Police reconvened to play three concerts for the Amnesty International A Conspiracy of Hope tour. Their last performance on stage before their split was on 15 June at Giants Stadium in New Jersey. They ended their set with "Invisible Sun", bringing out Bono to sing the final verse. When they finished, they handed U2 their instruments for the all-star finale of "I Shall Be Released". As the lead singer of U2 – who themselves would soon be regarded as the biggest band in the world – Bono stated, "It was a very big moment, like passing a torch."
In July of that year, the trio reunited in the studio to record a new album. However, Copeland broke his collarbone in a fall from a horse and was unable to play the drums. As a result of the tense and short-lived reunion in the studio, "Don't Stand So Close to Me '86" was released in October 1986 as their final single and made it into the UK Top 25. It also appeared on the 1986 compilation Every Breath You Take: The Singles, which reached No. 1 in the UK album charts. A rerecorded version of "De Do Do Do De Da Da Da" was subsequently also included on the DTS-CD release of the Every Breath You Take: The Classics album in 1995. The album has sold over five million copies in the US.
Following the failed effort to record a new studio album, the Police effectively disbanded. In the liner notes to the Police's box set Message in a Box, Summers explains: "The attempt to record a new album was doomed from the outset. The night before we went into the studio Stewart broke his collarbone falling off a horse and that meant we lost our last chance of recovering some rapport just by jamming together. Anyway, it was clear Sting had no real intention of writing any new songs for the Police. It was an empty exercise."
1986–2006: Disbandment
Each band member continued with his solo career over the next 20 years. Sting continued recording and touring as a solo performer to great success. Summers recorded a number of albums, both as a solo artist and in collaboration with other musicians. Copeland became a prolific producer of movie and television soundtracks, and he recorded and toured with two new bands, Animal Logic and Oysterhead. However, a few events did bring the Police back together, albeit briefly. Summers played guitar on Sting's album ...Nothing Like the Sun (1987), a favour the singer returned by playing bass on Summers' album Charming Snakes (1989) and later singing lead vocals on "'Round Midnight" for Summers' tribute to Thelonious Monk Green Chimneys (1999). On 2 October 1991 (Sting's 40th birthday), Summers joined Sting on stage at the Hollywood Bowl during The Soul Cages Tour to perform "Walking on the Moon", "Every Breath You Take", and "Message in a Bottle". The performance was broadcast as a pay-per-view event.
On 22 August 1992, Sting married Trudie Styler in an 11th-century chapel in Wiltshire, southwest England. Summers and Copeland were invited to the ceremony and reception. Aware that all band members were present, the wedding guests pressured the trio into playing, and they performed "Roxanne" and "Message in a Bottle". Copeland said later that "after about three minutes, it became 'the thing' again". In 1995 A&M released Live!, a double live album produced by Summers featuring two complete concerts—one recorded on 27 November 1979 at the Orpheum Theatre in Boston during the Reggatta de Blanc tour, and one recorded on 2 November 1983 at the Omni in Atlanta, Georgia, during the Synchronicity Tour (the latter was also documented in the VHS tape Synchronicity Concert in 1984).
On 10 March 2003, the Police were inducted into the Rock and Roll Hall of Fame and performed "Roxanne", "Message in a Bottle", and "Every Breath You Take" live, as a group (the last song was performed alongside Steven Tyler, Gwen Stefani, and John Mayer). In the autumn of 2003, Sting released his autobiography, Broken Music.
In 2004, Copeland and Summers joined Incubus onstage at KROQ's Almost Acoustic Christmas concert in Los Angeles performing "Roxanne" and "Message in a Bottle". In 2004, Henry Padovani released an album with the participation of Copeland and Sting on one track, reuniting the original Police line-up for the first time since 1977. Also in 2004, Rolling Stone ranked the Police No. 70 on their list of the 100 Greatest Artists of All Time.
In 2006, Stewart Copeland released a rockumentary about the band called Everyone Stares: The Police Inside Out, based on Super-8 filming he did when the band was touring and recording in the late 1970s and early 1980s. In October 2006, Andy Summers released One Train Later, an autobiographical memoir detailing his early career and time with the band.
2007–2008: Reunion tour
In early 2007, reports surfaced the trio would reunite for a tour to mark the Police's 30th anniversary, more than 20 years since their split in 1986. On 22 January 2007, the punk wave magazine Side-Line broke the story the Police would reunite for the Grammys, and would perform "Roxanne". Side-Line also stated the Police were to embark on a massive world tour. Billboard magazine later confirmed the news, quoting Summers' 2006 statement as to how the band could have continued post-Synchronicity: "The more rational approach would have been, 'OK, Sting, go make a solo record, and let's get back together in two or three years.' I'm certain we could have done that. Of course we could have. We were definitely not in a creative dry space. We could have easily carried on, and we could probably still be there. That wasn't to be our fate. It went in another way. I regret we never paid it off with a last tour." The band opened the 49th Annual Grammy Awards on 11 February 2007 in Los Angeles, announcing, "Ladies and gentlemen, we are The Police, and we're back!" before launching into "Roxanne".
A&M, the band's record company, promoted the 2007–08 reunion tour as the 30th anniversary of the band's formation and of the release of their first single for A&M, "Roxanne". The Police Reunion Tour began in late May 2007 with two shows in Vancouver. Stewart Copeland gave a scathing review of the show on his own website, which the press interpreted as a feud occurring two gigs into the tour. Copeland later apologised for besmirching "my buddy Sting," and chalked up the comments to "hyper self-criticism".
Tickets for the British leg of the tour sold out within 30 minutes, and the band played two nights at Twickenham Stadium on 8 and 9 September. On 29 and 30 September 2007, Henry Padovani joined the group on stage for the final encore of their two shows in Paris, playing the song "Next to You" as a four-piece band. In October 2007, the group played the largest gig of the reunion tour in Dublin in front of 82,000 fans. The group headlined the TW Classic festival in Werchter, Belgium on 7 June 2008. They also headlined the last night of the 2008 Isle of Wight Festival on 15 June, the Heineken Jammin' Festival in Venice on 23 June and the Sunday night at Hard Rock Calling (previously called Hyde Park Calling) in London on 29 June.
In February 2008, the band announced that, when the tour finished, they would break up again. "There will be no new album, no big new tour," said Sting. "Once we're done with our reunion tour, that's it for The Police." The final show of the tour was on 7 August 2008 at Madison Square Garden in New York City. The band performed the opening song, "Message in a Bottle", with the brass band of the New York Metropolitan Police Corp. Later, they performed "Sunshine of Your Love" and "Purple Haze" as a tribute to the rock trios that preceded them: Cream and The Jimi Hendrix Experience. While announcing the show, the group also donated $1 million to New York Mayor Michael Bloomberg's initiative to plant one million trees in the city by 2017.
The world's highest-earning musicians in 2008, the tour sold 3.7 million tickets and grossed $358 million, making it the third-highest-grossing tour of all time at its conclusion. On 11 November 2008, the Police released Certifiable: Live in Buenos Aires, a Blu-ray, DVD and CD set of the band's two performances in Buenos Aires, Argentina on the tour (1 and 2 December 2007). Those sets with two DVDs also included a documentary shot by Copeland's son Jordan entitled Better Than Therapy as well as some photographs of Buenos Aires taken by Andy Summers.
Musical style
The Police started as a punk rock band, but soon expanded their music vocabulary to incorporate reggae, pop and new wave sonorities to their sound. In his retrospective assessment Stephen Thomas Erlewine of AllMusic argues that the notion of the Police as a punk rock band was true only "in the loosest sense of the term". He states the band's "nervous, reggae-injected pop/rock was punky" and had a "punk spirit" but it "wasn't necessarily punk". A "power trio," The Police are known as a new wave and post-punk band, with many songs falling in the reggae-fusion genre.
Legacy
In 2003, the Police were inducted into the Rock and Roll Hall of Fame in their first year of eligibility. In 2004, Rolling Stone ranked the Police number 70 on their list of the 100 Greatest Artists of All Time, and in 2010, the band were ranked 40th on VH1's 100 Greatest Artists of All Time. Four of the band's five studio albums appeared on Rolling Stone'''s 2003 list of the 500 Greatest Albums of All Time: Ghost in the Machine (number 322), Reggatta de Blanc (number 369), Outlandos d'Amour (number 434), and Synchronicity (number 455). In 2008, Q magazine named Synchronicity among the top 10 British Albums of the 1980s.
The primary songwriter for the Police, Sting was inducted into the Songwriters Hall of Fame in 2002. In Rolling Stone's 2004 list of the 500 greatest songs of all time, "Every Breath You Take" ranked number 84 (the highest new wave song on the list), and "Roxanne" ranked number 388. "Message in a Bottle" ranked number 65 in the magazine's 2008 list of the 100 greatest guitar songs. Q magazine named "Every Breath You Take" among the top 10 British Songs of the 1980s, and in a UK-wide poll by ITV in 2015 it was voted The Nation's Favourite 80s Number One. In May 2019, "Every Breath You Take" was recognized by BMI as being the most performed song in their catalogue, overtaking "You've Lost That Lovin' Feelin'" performed by the Righteous Brothers.
With a string of UK number one albums, the Police were among the most commercially successful British bands of the early 1980s, and with success overseas they are typically regarded as in both the vanguard of the Second British Invasion, and the new wave movement. With a history of playing to large audiences (such as Shea Stadium in 1983), the Police were a featured artist in the stadium rock episode of the 2007 BBC/VH1 series Seven Ages of Rock along with Queen, Led Zeppelin, U2 and Bruce Springsteen. Despite the band's well-documented disagreements with one another, Summers confirmed in 2015 that Sting, Copeland and he are good friends. Summers said, "Despite the general press thing about 'God, they hate each other', it's actually not true, we're very supportive of one another."
DiscographyOutlandos d'Amour (1978)Reggatta de Blanc (1979)Zenyatta Mondatta (1980)Ghost in the Machine (1981)Synchronicity (1983)
Concert tours
The Police Around the World Tour (1977–1980)
Zenyatta Mondatta Tour (1980–1981)
Ghost in the Machine Tour (1981–1982)
Synchronicity Tour (1983–1984)
The Police Reunion Tour (2007–2008)
Band members
Stewart Copeland – drums, percussion, backing and lead vocals, keyboards, guitars (1977–1986, 2003, 2007–2008)
Sting – lead and backing vocals, bass guitar, double bass, keyboards, saxophone, harmonica (1977–1986, 2003, 2007–2008)
Andy Summers – guitars, backing and lead vocals, keyboards (1977–1986, 2003, 2007–2008)
Henry Padovani – guitar (1977; 2007 reunion tour finale, Paris with Sting, Summers, and Copeland)
Awards and nominations
Brit Awards
1982: Best British Group
1985: Outstanding Contribution to Music
Grammy Awards
|-
!scope="row" | 1981
| "Reggatta de Blanc"
| rowspan= "2" | Best Rock Instrumental Performance
|
|-
!scope="row" rowspan= "2" | 1982
| "Behind My Camel"
|
|-
| "Don't Stand So Close to Me"
| Best Rock Performance by a Duo or Group with Vocal
|
|-
!scope="row" rowspan= "4" | 1984
| rowspan= "2" | Synchronicity| Album of the Year
|
|-
| Best Rock Performance by a Duo or Group with Vocal
|
|-
| rowspan= "2" | "Every Breath You Take"
| Record of the Year
|
|-
| Best Pop Performance by a Duo or Group with Vocal
|
|-
!scope="row" | 1986
| The Police Synchronicity Concert
| Best Music Video, Long Form
|
|-
Juno Awards
|-
| rowspan="2" | 1984
| Synchronicity| International Album of the Year
|
People's Choice Awards
|-
| 2008
| Themselves
| Favorite Reunion Tour
|
Rock and Roll Hall of Fame
The Police were inducted into the Rock and Roll Hall of Fame on 10 March 2003.
Other lists
Ranked No.70 on Rolling Stone''s Immortals, the 100 Greatest Artists of All Time.
Ranked No.40 on VH1's List of 100 Greatest Artists of All Time.
See also
List of best-selling music artists
List of highest-grossing concert tours
List of new wave artists
List of reggae rock artists
References
Citations
Sources
External links
thepolice.com
thepolicetour.com
1977 establishments in England
1977 in London
A&M Records artists
Brit Award winners
British musical trios
English new wave musical groups
Grammy Award winners
Juno Award for International Album of the Year winners
Musical groups established in 1977
Musical groups reestablished in 2007
Musical groups disestablished in 2008
Musical groups from London
Reggae rock groups | true | [
"In law, merits are the inherent rights and wrongs of a legal case, absent of any emotional or technical bias. The evidence is applied solely to cases decided on its merits, and any procedural matters are discounted.\n\nThe term comes from Old French merite, meaning \"reward\" or \"moral worth\".\n\nExternal links\n\n Definition from Merriam-Webster.com\n\nLegal terminology",
"The 1952–53 Boston Bruins season was the Bruins' 29th season in the National Hockey League (NHL).\n\nOffseason\n\nRegular season\n\nFinal standings\n\nRecord vs. opponents\n\nSchedule and results\n\nPlayoffs\n\nPlayer statistics\n\nRegular season\nScoring\n\nGoaltending\n\nPlayoffs\nScoring\n\nGoaltending\n\nAwards and records\n\nAwards\n\nThe Boston Bruins did not win any NHL awards for the 1952-53 NHL season.\n\nAll-Star teams\n\nTransactions\n\nThe following is a list of all transactions that have occurred for the Boston Bruins during the 1952–53 NHL season. It lists which team each player has been traded to and for which player(s) or other consideration(s), if applicable.\n\nSee also\n1952–53 NHL season\n\nReferences\n\nExternal links\n\nBoston Bruins season, 1952-53\nBoston Bruins season, 1952-53\nBoston Bruins seasons\nBoston\nBoston\n1950s in Boston"
]
|
[
"Javier Saviola",
"Benfica"
]
| C_198205535ab140bab5f5b655d7afb785_0 | what is the benfica? | 1 | what is the benfica? | Javier Saviola | On 26 June 2009, S.L. Benfica and Real Madrid agreed on a EUR5 million deal that would see Saviola play in Portugal for the next three years, with an option for one more; a EUR30 million clause was added. He scored his first goal for the club on a penalty in a friendly match against FC Sion and, on 16 July, netted twice to send his team into the Guadiana Trophy finals. On 22 October 2009, Saviola scored two goals for Benfica, guiding them to a 5-0 victory over Everton for the UEFA Europa League (he would also score in the club's 2-0 win in Liverpool in the second match), adding another brace four days later in a 6-1 routing of C.D. Nacional for the Primeira Liga. On 6 December 2009, Saviola scored through a chip shot against Academica de Coimbra in a 4-0 home win. On 20 December he netted the game's only goal as Benfica defeated rivals FC Porto at home; during the victorious campaign, he formed a deadly offensive partnership with Paraguayan Oscar Cardozo, with the pair combining for more than 50 goals overall. On 3 January 2010, after receiving the Portuguese Liga Player of the Month award, Saviola scored another winning goal against Nacional, again being the game's only scorer in an away defeat of Rio Ave FC, netting in the 46th minute. He netted his 19th goal overall in a 3-1 home triumph against F.C. Pacos de Ferreira on 7 March, and Benfica were eventually crowned league champions after a five-year wait. CANNOTANSWER | On 22 October 2009, Saviola scored two goals for Benfica, guiding them to a 5-0 victory over Everton for the UEFA Europa League | Javier Pedro Saviola Fernández (; born 11 December 1981) is an Argentine former professional footballer who played as a forward.
He represented both Barcelona and Real Madrid, also having notable spells with Benfica and Olympiacos, and was named as the youngest player on Pelé's FIFA 100 list of the 125 greatest living footballers in 2004. Due to his ancestry he also holds Spanish nationality since 2004, and he amassed La Liga totals of 196 games and 70 goals over the course of eight seasons; he started and finished his career at River Plate.
Saviola won league titles in Argentina, Spain, Portugal and Greece during his playing career, as well as a UEFA Cup. An Argentine international for seven years, he represented his country at the 2006 World Cup and the 2004 Copa América, where Argentina reached the final. He also won a gold medal at the 2004 Olympics in Athens.
Club career
River Plate
Nicknamed El Conejo (The Rabbit), Buenos Aires-born Saviola made his debut for Club Atlético River Plate at the age of 16, and went on to be a prolific goalscorer for the club.
He helped River to the 1999 Apertura and 2000 Clausura championships, and earned the 1999 South American Footballer of the Year award. Still only 18, he gained a reputation as a phenomenal prospect, and was even regarded as a potential heir to Diego Maradona, in particular after he broke the latter's 1978 record by becoming the youngest player to win the Golden Boot award.
Barcelona
In 2001, aged 19, Saviola moved abroad to play for FC Barcelona in a £15 million transfer. He obtained Spanish citizenship shortly after, thereby not being restricted by the Spanish league maximum on the number of non-European Union citizens allowed in each team; under coach Carles Rexach, he scored 17 goals in his first season, finishing joint-fourth top scorer in La Liga.
Saviola's second year at the Camp Nou did not start well, as he only scored two goals in the first half of the season. Radomir Antić became the new coach after Louis van Gaal was fired, and he went on to net 11 goals in the latter half of the campaign; Frank Rijkaard was subsequently appointed as new manager for 2003–04, and the player scored 14 times in the league alone, but was deemed surplus at the club as was longtime attacking partner Patrick Kluivert.
Saviola was sent on loan in the summer of 2004, moving to AS Monaco FC in Ligue 1. As he did not fit into Rijkaard's plans he was again loaned out the following year, this time to Sevilla FC who were seeking to replace Real Madrid-bound Júlio Baptista; with the Andalusians he won his first title in Europe, conquering the UEFA Cup — he also scored nine times in the league, good enough for fifth.
Saviola returned to Barcelona for 2006–07, playing in 18 league games, six as a starter, and netting five goals. He benefited greatly from injuries to teammates, most notably to Samuel Eto'o, and added five in as many matches in that season's Copa del Rey, notably a hat-trick against Deportivo Alavés (3–2 win at home, 5–2 aggregate).
Real Madrid
On 10 July 2007, Real Madrid signed Saviola after his Barcelona contract expired, on a three-year deal. Although on a financially lucrative contract, he endured a difficult time at Real, being mainly restricted to cup matches and sporadic appearances (mainly as a substitute) in the league and the UEFA Champions League.
The arrival of Klaas-Jan Huntelaar limited Saviola's opportunities even more, and he finished his Real Madrid spell with five goals in 28 overall appearances.
Benfica
On 26 June 2009, S.L. Benfica and Real Madrid agreed on a €5 million deal that would see Saviola play in Portugal for the next three years, with an option for one more; a €30 million clause was added. On 16 July, he scored two goals to send his team into the Guadiana Trophy finals after defeating Athletic Bilbao.
Saviola netted twice on 22 October 2009, guiding his side to a 5–0 victory over Everton for the UEFA Europa League (he would also score in their 2–0 win in Liverpool in the second match), adding another brace four days later in a 6–1 routing of C.D. Nacional for the Primeira Liga.
On 6 December 2009, Saviola scored through a chip shot against Académica de Coimbra in a 4–0 home win. On 20 December he netted the game's only goal as Benfica defeated rivals FC Porto at home; during the victorious campaign, he formed a deadly attacking partnership with Paraguayan Óscar Cardozo, with the pair combining for more than 50 goals overall.
On 3 January 2010, shortly before receiving the SJPF Player of the Month award, Saviola scored another winning goal against Nacional, now for the Taça da Liga, again being the game's only scorer in an away defeat of Rio Ave FC, netting in the 48th minute. He scored his 19th goal overall in a 3–1 home triumph against F.C. Paços de Ferreira on 7 March, and the Lisbon club was eventually crowned league champions
Málaga
In the last hours of the 2012–13 summer transfer window, Saviola agreed on a move to Málaga CF. He played 45 minutes in his first appearance, a 1–0 win at Real Zaragoza on 1 September.
On 15 September 2012, Saviola scored once and provided one assist in a 3−1 home win against Levante UD. He continued with his streak the following game, Málaga's first-ever in the Champions League group stage, netting in a 3–0 home win over FC Zenit Saint Petersburg.
Olympiacos
On 25 July 2013, Saviola signed a two-year contract with Greek champions Olympiacos FC. He scored his first goal in the Superleague on 25 August, coming on at half-time and helping his team come from behind to win 2–1 at home to Atromitos F.C. On 10 December he netted a brace – and also missed a penalty – in a 3–1 success over R.S.C. Anderlecht also at the Karaiskakis Stadium in the group stage's last round, which helped the Piraeus team finish second and qualify at the expense of former side Benfica.
Verona
On 2 September 2014, Saviola joined Serie A club Hellas Verona FC. He made his official debut on 22 September, starting in a 2–2 home draw against Genoa CFC, and scored his first goal on 2 December, netting the only in a home win over Perugia Calcio for the Coppa Italia. His sole goal of the league season came on 25 January 2015, the only one in a home victory over Atalanta BC.
Return to River
On 30 June 2015, River Plate announced that Saviola had returned to the club. He left in January of the following year, after failing to find the net in his second spell, and subsequently retired from professional football at the age of 34.
Retirement, coaching, and futsal career
Immediately after retiring, Saviola settled in Andorra with his family and was appointed assistant manager at FC Ordino in the Primera Divisió. In February 2018, he joined local futsal team Encamp. In April of that year, he won the principality's futsal league with the side.
International career
Saviola starred in the 2001 edition of the FIFA U-20 World Cup, held in Argentina. He was top scorer and was voted player of the tournament, as the national team won the competition; with 11 goals in seven games, he became the record goal-scorer in the tournament's history.
Two years later, Saviola played in the 2004 Olympic Games and won the gold medal. Under coach Marcelo Bielsa he was given few playing opportunities for the senior team but, after the former's resignation in 2004, new manager José Pékerman, who also worked with him at youth level, turned the tide in the player's favour; he was also a member of the squads that reached final of the 2004 Copa América and the 2005 FIFA Confederations Cup, netting three times in the former tournament and one in the latter.
Saviola was called up to represent Argentina at the 2006 World Cup – Luciano Figueroa and Luciano Galletti were also in contention for a place on the roster, but his excellent form for Sevilla secured his place in the squad. He scored against Ivory Coast in the country's opening game, and made two assists in the 6–0 victory over Serbia and Montenegro also in the group phase.
Saviola retired from international football on 5 December 2009, although not yet 28. He stated that he felt his career as an Argentina player had come to an end, and that he wanted to concentrate on club football.
Style of play
Saviola was known for his speed, agility, dribbling and ability to score from almost any attacking position on the field. A diminutive, talented, and prolific forward, with a slender build, he was capable of playing as a striker, in a more creative role as a second striker, or even in a playmaking role as an attacking midfielder. Throughout his career, Saviola was nicknamed El Conejo (The Rabbit, in Spanish), due to his appearance, and also El Pibito (The Little Kid, in Spanish), a reference to compatriot Diego Maradona, who was nicknamed El Pibe de Oro (The Golden Kid, in Spanish), and to whom Saviola was often compared in his youth.
Media
Saviola was sponsored by sportswear company Nike, and appeared in commercials for the brand. In a global advertising campaign in the run-up to the 2002 World Cup in Korea and Japan, he starred in a "Secret Tournament" commercial (branded "Scopion KO") directed by Terry Gilliam, appearing alongside footballers such as Luís Figo, Thierry Henry, Hidetoshi Nakata, Roberto Carlos, Ronaldinho, Ronaldo and Francesco Totti, with former player Eric Cantona the tournament "referee".
Career statistics
Club
International
Scores and results list Argentina's goal tally first, score column indicates score after each Saviola goal.
Honours
River Plate
Argentine Primera División: 1999 Apertura, 2000 Clausura
Copa Libertadores: 2015
Suruga Bank Championship: 2015
FIFA Club World Cup runner-up: 2015
Sevilla
UEFA Cup: 2005–06
Real Madrid
La Liga: 2007–08
Supercopa de España: 2008
Benfica
Primeira Liga: 2009–10
Taça da Liga: 2009–10, 2010–11, 2011–12
Supertaça Cândido de Oliveira runner-up: 2010
Olympiacos
Super League Greece: 2013–14
Argentina
FIFA U-20 World Cup: 2001
Summer Olympic Games: 2004
Copa América runner-up: 2004
FIFA Confederations Cup runner-up: 2005
Individual
Argentine Primera División: 1999 Apertura Top scorer
South American Footballer of the Year: 1999
South American Team of the Year: 1999
Player of the Year of Argentina: 1999
FIFA World Youth Championship: Golden Shoe 2001
FIFA World Youth Championship: Golden Ball 2001
Trofeo EFE: 2001–02
Primeira Liga: Player of the Month December 2009
Portuguese Golden Ball: 2010
FIFA 100
References
External links
1981 births
Living people
Footballers from Buenos Aires
Argentine footballers
Argentine men's futsal players
Association football forwards
Club Atlético River Plate footballers
FC Barcelona players
AS Monaco FC players
Sevilla FC players
UEFA Cup winning players
Real Madrid CF players
S.L. Benfica footballers
Málaga CF players
Olympiacos F.C. players
Hellas Verona F.C. players
FC Encamp players
Argentine Primera División players
La Liga players
Ligue 1 players
Primeira Liga players
Super League Greece players
Serie A players
Argentina under-20 international footballers
Olympic footballers of Argentina
Argentina international footballers
2004 Copa América players
Footballers at the 2004 Summer Olympics
2005 FIFA Confederations Cup players
2006 FIFA World Cup players
Medalists at the 2004 Summer Olympics
Olympic medalists in football
Olympic gold medalists for Argentina
South American Footballer of the Year winners
FIFA 100
Argentine expatriate footballers
Argentine expatriate sportspeople in Spain
Argentine expatriate sportspeople in Monaco
Argentine expatriate sportspeople in Portugal
Argentine expatriate sportspeople in Greece
Argentine expatriate sportspeople in Italy
Argentine expatriate sportspeople in Andorra
Expatriate footballers in Spain
Expatriate footballers in Monaco
Expatriate footballers in Portugal
Expatriate footballers in Greece
Expatriate footballers in Italy
Expatriate footballers in Andorra
Naturalised citizens of Spain | false | [
"The Derby de Lisboa or Dérbi de Lisboa (English: Lisbon derby) is the most important football derby match in Portugal. It is played between Lisbon clubs Benfica and Sporting CP. The rivalry originated back in 1907, when eight Benfica players moved to Sporting before the first derby. The match is followed worldwide, especially among the Portuguese diaspora and in the former Portuguese colonies.\n\nHonours comparison\nThese are the major football honours of Benfica and Sporting. Benfica's Latin Cup is not included.\n\nChampionship of Lisbon\n\nHead-to-head results\n\nLeague matches\nThe matches listed below are only Primeira Liga matches, club name in bold indicates win. The score is given at full-time, and in the goals columns, the goalscorer and time when goal was scored is noted.\n\nHead-to-head results\n\nPortuguese Cup matches\nThe matches listed below are only Taça de Portugal matches, club name in bold indicates win. The score is given at full-time; in the goals columns, the goalscorer and time when goal was scored is noted.\n\nHead-to-head results\n\nLeague Cup matches\nThe matches listed below are only Taça da Liga matches; club name in bold indicates win. The score is given at full-time; in the goals columns, the goalscorer and time when goal was scored is noted.\n\nHead-to-head results\n\nSuper Cup matches\nThe matches listed below are only Supertaça Cândido de Oliveira matches; club name in bold indicates win. The score is given at full-time; in the goals columns, the goalscorer and time when goal was scored is noted.\n\nHead-to-head results\n\nChampionship of Portugal matches\n\nHead-to-head results\n\nReserve team matches\nBenfica B and Sporting B were established in the late 90s. They folded following the end of the 2005–06 season and were re-established in 2012 to compete starting from the 2012–13 Segunda Liga.\n\nIn 2018, Sporting B were again extinct after their relegation in the 2017–18 LigaPro.\n\nHead-to-head results\n\nAll-time head-to-head results\nThis section does not include exhibition matches and results between reserve teams.\n\nRecords and statistics\n\nBenfica\n\n Benfica's biggest home win: Benfica 7–2 Sporting (28 April 1948)\n Benfica 5–0 Sporting (3 December 1939)\n Benfica 5–0 Sporting (19 November 1978)\n Benfica 5–0 Sporting (12 March 1986)\n Benfica's biggest away win: Sporting 0–4 Benfica (27 February 1910)\n Benfica's most consecutive wins: 8 (25 October 1908 – 10 March 1912)\n Benfica's longest undefeated run: 14 (25 October 1908 – 17 January 1915)\n Benfica's most consecutive losses: 5 (5 October 1952 – 23 May 1954)\n Benfica's most consecutive matches without winning: 5 (29 November 1980 – 2 January 1983)\n\nSporting\n Sporting's biggest home win: Sporting 7–1 (14 December 1986)\n Sporting's biggest away win: Benfica 0–5 Sporting (18 October 1936)\n Benfica 0–5 Sporting (14 December 1941)\n Sporting's most consecutive wins: 5 (5 October 1952 – 23 May 1954)\n Sporting's longest undefeated run: 5 (29 November 1980 – 2 January 1983)\n Sporting's most consecutive losses: 8 (25 October 1908 – 10 March 1912)\n Sporting's most consecutive matches without winning: 14 (25 October 1908 – 17 January 1915)\n\nTop goalscorers\n\nPlayers who played for both clubs\n\n Artur José Pereira: Benfica 1907–14; Sporting 1914–19\n Alfredo Valadas: Sporting 1931–33; Benfica 1934–44\n Joaquim Alcobia: Sporting 1935–36; Benfica 1936–44\n António Martins: Sporting 1936–38; Benfica 1938–45\n Mário Galvão: Sporting 1935–40; Benfica 1941–43\n António Lourenço: Benfica 1949–51; Sporting 1953–56\n Zé Rita: Sporting 1952–55; Benfica 1962–65\n Mascarenhas: Benfica 1958–59; Sporting 1962–64\n José Barroca: Benfica 1959–63; Sporting 1963–70\n José Ferreira Pinto: Sporting 1958–62; Benfica 1965–68\n José Pérides: Sporting 1956–60, 1961–64; Benfica 1964–66\n Pedras: Benfica 1962–66; Sporting 1968–71\n Nélson Fernandes: Benfica 1965–68; Sporting 1969–76\n Rui Jordão: Benfica 1971–76; Sporting 1977–87\n Carlos Alhinho: Sporting 1972–75; Benfica 1976–77, 1978–81\n Artur Correia: Benfica 1971–77; Sporting 1977–79, 1979–80\n António Botelho: Sporting 1970–74, 1977–79; Benfica 1979–82\n António Fidalgo: Benfica 1970–73, 1975–76, 1977–79; Sporting 1979–83\n João Laranjeira: Sporting 1970–79; Benfica 1979–82\n Eurico Gomes: Benfica 1975–79; Sporting 1979–82\n Romeu Silva: Benfica 1975–77; Sporting 1983–86\n Carlos Manuel: Benfica 1979–87; Sporting 1988–90\n Fernando Mendes: Sporting 1985–89; Benfica 1989–91, 1992–93\n Paulo Futre: Sporting 1983–84; Benfica 1993\n António Pacheco: Benfica 1987–93; Sporting 1993–95\n Paulo Sousa: Benfica 1989–93; Sporting 1993–94\n Amaral: Sporting 1988–94; Benfica 1994–95\n Marinho: Sporting 1989–95; Benfica 1995–97\n José Dominguez: Benfica 1992–94; Sporting 1995–97\n Hugo Porfírio: Sporting 1992–97; Benfica 1998–2000, 2001–04\n Jorge Cadete: Sporting 1987–95; Benfica 1999–2003\n João Pinto: Benfica 1992–2000; Sporting 2000–04\n Dimas Teixeira: Benfica 1994–96; Sporting 2000–02\n Paulo Bento: Benfica 1994–96; Sporting 2000–04\n Dani: Sporting 1995–97; Benfica 2000\n Bruno Caires: Benfica 1994–97; 2000–04\n Rui Bento: Benfica 1991–92; Sporting 2001–04\n Marco Caneira: Sporting 1996–2000, 2006–07 (loan), 2008–11; Benfica 2001–02 (loan)\n Simão Sabrosa: Sporting 1997–99; Benfica 2001–07\n Emílio Peixe: Sporting 1991–95, 1996–97; Benfica 2002–03\n Derlei: Benfica 2007 (loan); Sporting 2007–09\n Carlos Martins: Sporting 2000–07; Benfica 2008–14\n Maniche: Benfica 1995–96, 1999–2002; Sporting 2010–11\n João Pereira: Benfica 2003–06; Sporting 2010–12, 2015–16, 2021\n Yannick Djaló: Sporting 2005–11; Benfica 2012–16\n Bruno César: Benfica 2011–13; Sporting 2015–18\n André Carrillo: Sporting 2011–16; Benfica 2016–19\n Lazar Marković: Benfica 2013–14; Sporting 2016–17 (loan)\n Fábio Coentrão: Benfica 2007–11; Sporting 2017–18 (loan)\n Nuno Santos: Benfica 2015–17; Sporting 2020–present\n João Mário: Sporting 2011–16, 2020–21 (loan); Benfica 2021–present\n\nCoaches who managed both clubs\n\n Arthur John: Benfica 1929–31; Sporting 1931–33\n Otto Glória: Benfica 1954–59, 1968–1970; Sporting 1961, 1965–66\n Fernando Caiado: Benfica 1962; Sporting 1967–69\n Fernando Riera: Benfica 1962–63, 1966–68; Sporting 1974–75\n Jimmy Hagan: Benfica 1970–73; Sporting 1976–77\n Milorad Pavić: Benfica 1974–75; Sporting 1978–79\n Manuel José: Sporting 1985–86, 1990; Benfica 1997\n Fernando Santos: Sporting 2003–04; Benfica 2006–07\n Jesualdo Ferreira: Benfica 2002; Sporting 2013\n Jorge Jesus: Benfica 2009–15, 2020–21; Sporting 2015–18\n\nWomen's matches \nThe first women's official derby was played on 19 October 2019 for matchday 3 of the 2019–20 National Championship. Benfica beat Sporting 3–0 at the Estádio da Luz, and the overall attendance record for a women's match in Portugal was surpassed with 12,812 spectators in the stands.\n\nHead-to-head results\n\nNational championship\n\nLeague Cup\n\nNotes\n\nReferences\n\nFurther reading\n\nExternal links\n Benfica official website \n Sporting official website \n\nFootball rivalries in Portugal\nS.L. Benfica\nSporting CP",
"O Clássico (\"The Classic\") is the name given in football to matches between Portuguese clubs S.L. Benfica and FC Porto. Originally, the term O Clássico only referred to games played in the league, but now tends to include matches that take place in other domestic competitions such as the Taça de Portugal, Taça da Liga and Supertaça Cândido de Oliveira. Despite being the two most decorated Portuguese clubs in European football, with seven European titles between them, they have never faced each other in a European competition. Benfica and Porto are two of the three clubs known as the \"Big Three\" in Portugal, the other being Sporting CP.\n\nThe rivalry comes about as Lisbon and Porto are the two largest cities in Portugal, and the two clubs are two of the wealthiest and most decorated football teams in Portugal. The animosity between these two sides also extends from the country's political, cultural and sporting history.\n\nRivalry \n\nThe first match between the Águias and the Dragões was an exhibition game that was played on the 28 April 1912, when Benfica defeated Porto 8–2. Eight years later, Porto would win their first Clássico, 3–2. Porto would have to wait another nine years to accumulate their second victory over Benfica. Prior to the establishment of the Primeira Liga in 1934, both Benfica and Porto were competing within their football league district. Both sides were also competing in the Campeonato de Portugal which later became in 1938 the Taça de Portugal.\n\nUntil 1934, Benfica would win the Campeonato de Lisboa nine times as well as triumphing in the Taça de Honra de Lisboa twice, while Porto would win the Campeonato do Porto nineteen times as well as claiming the Taça de Honra do Porto twice. Benfica would meet Porto for the very first time in an official match in the domestic cup competition which during the early periods of Portuguese football was the Campeonato de Portugal. Benfica defeated Porto in the final of the 1931 Campeonato de Portugal, 3–0 at the Campo do Arnado in Coimbra. Two goals from Vítor Silva and one from Augusto Dinis sealed the win to claim Benfica's second Campeonato de Portugal.\n\nThe inception of the Primeira Liga saw Porto win the very first edition of the competition. Both sides met for the first time in the competition on 3 February 1935, on which Porto won 2–1. Benfica would win the return tie 3–0. Despite Benfica's win, the Águias would finish third in the league, three points behind Porto. The next five seasons would see Benfica win three titles to Porto's two. During the 1940s, both sides would take a back seat to Sporting CP, which would win five league titles in the decade.\n\nThe late 1950s and 1960s saw Benfica dominate not just Portuguese football but also European football. The arrival of Eusébio saw Benfica secure eight league titles in ten years. Benfica's league titles were joined by two consecutive European Cups which were won in 1961, 3–2 against Barcelona, and in 1962, 5–3 against Real Madrid. The 1970s saw the continuation of Benfica's dominance up until the 1977–78 season, during which Porto won the league title for the first time in 19 years. The 1980s and early 1990s saw both Benfica and Porto battle for the league title. Porto's resurgence and the introduction of Jorge Nuno Pinto da Costa as chairman saw Porto reach new heights, winning the European Cup for the first time after defeating Bayern Munich 2–1 in the 1987 European Cup Final. Three years later, Benfica reached their eighth European final, the 1990 European Cup Final, losing 1–0 to Milan.\n\nIn the 1990s, Porto began to dominate Portuguese football, winning a record five consecutive league titles. The intensity between these two sides in the '90s was culminated by the fact that former Portuguese international teammates João Pinto, who played for Benfica, and Paulinho Santos, who played for Porto, publicly declared their dislike for each other. The new millennium saw a continuation of Porto's dominance. Porto would reach the heights of their 1987 European Cup final win after José Mourinho guided Os Dragões to the UEFA Cup in 2003 and the UEFA Champions League in 2004. Benfica won the league title in 2005 for the first time in over ten years to halter Porto's momentum. During the second half of the 2000s, both sides battled for top spot, with the rivalry intensified after Benfica's Cristian Rodríguez joined Porto in the summer of 2008 to become the third Benfica player in recent history to have made the switch. In 2010, after four seasons, Benfica won their 32nd league title. Also in 2010, Benfica defeated Porto 3–0 in the 2009–10 Taça da Liga final to win the first of what would be four straight Taça da Liga titles, a competition that Porto has never won. \n\nThe next year, Porto recorded their biggest home win over As Águias, a 5–0 thrashing in a league fixture. Porto would secure a treble in the same season in which they claimed the league title, the Taça de Portugal as well as the UEFA Europa League. In 2013, Porto won their latest silverware: the Supertaça Cândido de Oliveira. On 18 May 2014, Benfica made history after achieving the domestic treble of winning the Primeira Liga, Taça de Portugal and Taça da Liga. Later on, Benfica secured four more league titles – four in a row and 37 overall, the latter a Portuguese record – and won another two league cups, achieving a record seventh overall. Porto and Benfica would go back-and-forth as league champions from the 2017–18 season through to the 2019–20 season, with Porto being the most recent title holders.\n\nHonours comparison \nThese are the major football honours of Benfica and Porto. Benfica's Latin Cup is not included.\n\nLeague matches \nThe matches listed below are only Primeira Liga matches, club name in bold indicates win. The score is given at full-time, and in the goals columns, the goalscorer and time when goal was scored is noted.\n\nHead-to-head results\n\nCup matches \nThe matches listed below are only Taça de Portugal matches, club name in bold indicates win. The score is given at full-time, and in the goals columns, the goalscorer and time when goal was scored is noted.\n\nHead-to-head results\n\nLeague Cup matches \nThe matches listed below are only Taça da Liga matches, club name in bold indicates win. The score is given at full-time, and in the goals columns, the goalscorer and time when goal was scored is noted.\n\nHead-to-head results\n\nSuper Cup matches \nThe matches listed below are only Supertaça Cândido de Oliveira matches, club name in bold indicates win. The score is given at full-time, and in the goals columns, the goalscorer and time when goal was scored is noted.\n\nHead-to-head results\n\nCampeonato de Portugal matches \nThe matches listed below are only Campeonato de Portugal matches. The Campeonato de Portugal was created in 1922 and was the primary tournament in Portugal, where all teams competed from around the country. In 1938, the Campeonato de Portugal became what is now known as the Taça de Portugal. The club name in bold indicates win. The score is given at full-time and half-time (in brackets), and in the goals columns, the goalscorer and time when goal was scored is noted.\n\nHead-to-head results\n\nReserve team matches \nBoth Benfica's reserves, Benfica B, and Porto's reserves, Porto B, were established in the late 1990s. Both sides folded following the end of the 2005–06 season. The two teams were re-established in 2012 to compete in the 2012–13 Segunda Liga, where they met for the very first time.\n\nHead-to-head results\n\nPremier League International Cup \n\nNote: Match was played on neutral ground.\n\nAll-time head-to-head results \n\nThis section does not include results between reserve teams and exhibition games.\n\nRecords and statistics \n\n Biggest Benfica home win: Benfica 12–2 Porto (7 February 1943)\n Biggest Benfica away win: Porto 2–8 Benfica (28 May 1952, in the inauguration of Porto's Estádio das Antas)\n Most consecutive Benfica wins: 4 (12 September 1971 – 5 November 1972)\n Longest undefeated Benfica run: 7 (24 January 1982 – 8 December 1983)\n Most consecutive Benfica losses: 4 (10 February 2002 – 21 September 2003, 24 August 2019 – 23 December 2020)\n Most consecutive matches without Benfica winning: 9 (31 January 1988 – 17 April 1991)\n Biggest Porto home win: Porto 8–0 Benfica (28 May 1933)\n Biggest Porto away win: Benfica 0–5 Porto (18 September 1996)\n Most consecutive Porto wins: 4 (10 February 2002 – 21 September 2003, 24 August 2019 – 23 December 2020)\n Longest undefeated Porto run: 9 (31 January 1988 – 17 April 1991)\n Most consecutive Porto losses: 4 (12 September 1971 – 5 November 1972)\n Most consecutive matches without Porto winning: 7 (24 January 1982 – 8 December 1983)\n Most common result: 1–1 (14 times)\n\nMost appearances \nCompetitive matches only, includes appearances as used substitute.\n\nTop goalscorers\n\nPlayers who played for both clubs \n\n Artur Augusto: Benfica 1915–21, 1923–25; Porto 1921–23\n Tavares Bastos: Benfica 1917–22; Porto 1922–24\n Francisco Ferreira: Porto 1937–38; Benfica 1938–52\n José Maria: Porto 1949–57; Benfica 1957–58\n Serafim: Porto 1960–63; Benfica 1963–67\n Paula: Porto 1959–66; Benfica 1966–68\n Artur Jorge: Porto 1964–65; Benfica 1969–75\n Abel: Benfica 1968–70; Porto 1970–76\n Carlos Alhinho: Porto 1976; Benfica 1976–77, 1978–81\n Romeu: Benfica 1975–77; Porto 1979–83\n Francisco Vital: Porto 1977–80; Benfica 1980–81\n Eurico Gomes: Benfica 1975–79; Porto 1982–87\n Eduardo Luís: Benfica 1975–76; Porto 1982–89\n Rui Águas: Benfica 1985–88, 1990–94; Porto 1988–90\n Dito: Benfica 1986–88; Porto 1988–89\n Paulo Futre: Porto 1984–87; Benfica 1993\n José Tavares: Porto 1990–91; Benfica 1994–95\n Sergei Yuran: Benfica 1991–94; Porto 1994–95\n Vasili Kulkov: Benfica 1991–94; Porto 1994–95\n Paulo Pereira: Porto 1988–94; Benfica 1994–96\n Fernando Mendes: Benfica 1989–91, 1992–93; Porto 1996–99\n Kenedy: Benfica 1993–96; Porto 1997–98\n Pedro Henriques: Benfica 1993–97; Porto 1997–98\n Basarab Panduru: Benfica 1995–98; Porto 1998–99\n Sergei Ovchinnikov: Benfica 1998–99; Porto 2000–02\n Ljubinko Drulović: Porto 1994–2001; Benfica 2001–03\n João Manuel Pinto: Porto 1995–2001; Benfica 2001–03\n Argel: Porto 1999; Benfica 2001–04\n Paulo Santos: Benfica 1993–94; Porto 2001–05\n Zlatko Zahovič: Porto 1996–99; Benfica 2001–05\n Emílio Peixe: Porto 1997–2002; Benfica 2002–03\n Tiago Pereira: Benfica 1997–98; Porto 2002–04\n Miklós Fehér: Porto 1998–2002; Benfica 2002–04\n Edgaras Jankauskas: Benfica 2002 (loan); Porto 2002–04\n Maniche: Benfica 1995–96, 1999–2002; Porto 2002–05\n Tomo Šokota: Benfica 2001–05; Porto 2005–07\n Marco Ferreira: Porto 2003–04; Benfica 2006–07\n Derlei: Porto 2002–05; Benfica 2007 (loan)\n Cristian Rodríguez: Benfica 2007–08 (loan); Porto 2008–12\n César Peixoto: Porto 2002–07; Benfica 2009–12\n Maxi Pereira: Benfica 2007–15; Porto 2015–19\n Nicolás Otamendi: Porto 2010–14; Benfica 2020–present\n\nSergei Yuran and Maxi Pereira are the only players who have scored a goal for both sides in O Clássico. Nicolás Otamendi is the only player to be sent off for both clubs.\n\nManagers who managed both clubs\n\n János Biri: Porto 1935–36; Benfica 1939–47\n Lippo Hertzka: Benfica 1936–39; Porto 1942–45\n Béla Guttmann: Porto 1958–59, 1973; Benfica 1959–62, 1965–66\n Otto Glória: Benfica 1954–59, 1968–70; Porto 1964–65\n Elek Schwartz: Benfica 1964–65; Porto 1969–70\n Fernando Riera: Benfica 1962–63; 1966–68; Porto 1972–73\n Tomislav Ivić: Porto 1988–89, 1993–94; Benfica 1992\n Artur Jorge: Porto 1984–87, 1988–91; Benfica 1994–95\n José Mourinho: Benfica 2000; Porto 2002–04\n Fernando Santos: Porto 1998–2001; Benfica 2006–07\n Jesualdo Ferreira: Benfica 2001–03; Porto 2006–10\n\nSee also \n\n Derby de Lisboa\n FC Porto–Sporting CP rivalry\n List of association football club rivalries in Europe\n\nReferences\n\nExternal links \n Benfica official website \n FC Porto official website \n\nFootball rivalries in Portugal\nS.L. Benfica\nFC Porto"
]
|
[
"Javier Saviola",
"Benfica",
"what is the benfica?",
"On 22 October 2009, Saviola scored two goals for Benfica, guiding them to a 5-0 victory over Everton for the UEFA Europa League"
]
| C_198205535ab140bab5f5b655d7afb785_0 | Did they win any other games? | 2 | Did Benfica win any other games besides the 5-0 victory over Everton? | Javier Saviola | On 26 June 2009, S.L. Benfica and Real Madrid agreed on a EUR5 million deal that would see Saviola play in Portugal for the next three years, with an option for one more; a EUR30 million clause was added. He scored his first goal for the club on a penalty in a friendly match against FC Sion and, on 16 July, netted twice to send his team into the Guadiana Trophy finals. On 22 October 2009, Saviola scored two goals for Benfica, guiding them to a 5-0 victory over Everton for the UEFA Europa League (he would also score in the club's 2-0 win in Liverpool in the second match), adding another brace four days later in a 6-1 routing of C.D. Nacional for the Primeira Liga. On 6 December 2009, Saviola scored through a chip shot against Academica de Coimbra in a 4-0 home win. On 20 December he netted the game's only goal as Benfica defeated rivals FC Porto at home; during the victorious campaign, he formed a deadly offensive partnership with Paraguayan Oscar Cardozo, with the pair combining for more than 50 goals overall. On 3 January 2010, after receiving the Portuguese Liga Player of the Month award, Saviola scored another winning goal against Nacional, again being the game's only scorer in an away defeat of Rio Ave FC, netting in the 46th minute. He netted his 19th goal overall in a 3-1 home triumph against F.C. Pacos de Ferreira on 7 March, and Benfica were eventually crowned league champions after a five-year wait. CANNOTANSWER | On 6 December 2009, Saviola scored through a chip shot against Academica de Coimbra in a 4-0 home win. | Javier Pedro Saviola Fernández (; born 11 December 1981) is an Argentine former professional footballer who played as a forward.
He represented both Barcelona and Real Madrid, also having notable spells with Benfica and Olympiacos, and was named as the youngest player on Pelé's FIFA 100 list of the 125 greatest living footballers in 2004. Due to his ancestry he also holds Spanish nationality since 2004, and he amassed La Liga totals of 196 games and 70 goals over the course of eight seasons; he started and finished his career at River Plate.
Saviola won league titles in Argentina, Spain, Portugal and Greece during his playing career, as well as a UEFA Cup. An Argentine international for seven years, he represented his country at the 2006 World Cup and the 2004 Copa América, where Argentina reached the final. He also won a gold medal at the 2004 Olympics in Athens.
Club career
River Plate
Nicknamed El Conejo (The Rabbit), Buenos Aires-born Saviola made his debut for Club Atlético River Plate at the age of 16, and went on to be a prolific goalscorer for the club.
He helped River to the 1999 Apertura and 2000 Clausura championships, and earned the 1999 South American Footballer of the Year award. Still only 18, he gained a reputation as a phenomenal prospect, and was even regarded as a potential heir to Diego Maradona, in particular after he broke the latter's 1978 record by becoming the youngest player to win the Golden Boot award.
Barcelona
In 2001, aged 19, Saviola moved abroad to play for FC Barcelona in a £15 million transfer. He obtained Spanish citizenship shortly after, thereby not being restricted by the Spanish league maximum on the number of non-European Union citizens allowed in each team; under coach Carles Rexach, he scored 17 goals in his first season, finishing joint-fourth top scorer in La Liga.
Saviola's second year at the Camp Nou did not start well, as he only scored two goals in the first half of the season. Radomir Antić became the new coach after Louis van Gaal was fired, and he went on to net 11 goals in the latter half of the campaign; Frank Rijkaard was subsequently appointed as new manager for 2003–04, and the player scored 14 times in the league alone, but was deemed surplus at the club as was longtime attacking partner Patrick Kluivert.
Saviola was sent on loan in the summer of 2004, moving to AS Monaco FC in Ligue 1. As he did not fit into Rijkaard's plans he was again loaned out the following year, this time to Sevilla FC who were seeking to replace Real Madrid-bound Júlio Baptista; with the Andalusians he won his first title in Europe, conquering the UEFA Cup — he also scored nine times in the league, good enough for fifth.
Saviola returned to Barcelona for 2006–07, playing in 18 league games, six as a starter, and netting five goals. He benefited greatly from injuries to teammates, most notably to Samuel Eto'o, and added five in as many matches in that season's Copa del Rey, notably a hat-trick against Deportivo Alavés (3–2 win at home, 5–2 aggregate).
Real Madrid
On 10 July 2007, Real Madrid signed Saviola after his Barcelona contract expired, on a three-year deal. Although on a financially lucrative contract, he endured a difficult time at Real, being mainly restricted to cup matches and sporadic appearances (mainly as a substitute) in the league and the UEFA Champions League.
The arrival of Klaas-Jan Huntelaar limited Saviola's opportunities even more, and he finished his Real Madrid spell with five goals in 28 overall appearances.
Benfica
On 26 June 2009, S.L. Benfica and Real Madrid agreed on a €5 million deal that would see Saviola play in Portugal for the next three years, with an option for one more; a €30 million clause was added. On 16 July, he scored two goals to send his team into the Guadiana Trophy finals after defeating Athletic Bilbao.
Saviola netted twice on 22 October 2009, guiding his side to a 5–0 victory over Everton for the UEFA Europa League (he would also score in their 2–0 win in Liverpool in the second match), adding another brace four days later in a 6–1 routing of C.D. Nacional for the Primeira Liga.
On 6 December 2009, Saviola scored through a chip shot against Académica de Coimbra in a 4–0 home win. On 20 December he netted the game's only goal as Benfica defeated rivals FC Porto at home; during the victorious campaign, he formed a deadly attacking partnership with Paraguayan Óscar Cardozo, with the pair combining for more than 50 goals overall.
On 3 January 2010, shortly before receiving the SJPF Player of the Month award, Saviola scored another winning goal against Nacional, now for the Taça da Liga, again being the game's only scorer in an away defeat of Rio Ave FC, netting in the 48th minute. He scored his 19th goal overall in a 3–1 home triumph against F.C. Paços de Ferreira on 7 March, and the Lisbon club was eventually crowned league champions
Málaga
In the last hours of the 2012–13 summer transfer window, Saviola agreed on a move to Málaga CF. He played 45 minutes in his first appearance, a 1–0 win at Real Zaragoza on 1 September.
On 15 September 2012, Saviola scored once and provided one assist in a 3−1 home win against Levante UD. He continued with his streak the following game, Málaga's first-ever in the Champions League group stage, netting in a 3–0 home win over FC Zenit Saint Petersburg.
Olympiacos
On 25 July 2013, Saviola signed a two-year contract with Greek champions Olympiacos FC. He scored his first goal in the Superleague on 25 August, coming on at half-time and helping his team come from behind to win 2–1 at home to Atromitos F.C. On 10 December he netted a brace – and also missed a penalty – in a 3–1 success over R.S.C. Anderlecht also at the Karaiskakis Stadium in the group stage's last round, which helped the Piraeus team finish second and qualify at the expense of former side Benfica.
Verona
On 2 September 2014, Saviola joined Serie A club Hellas Verona FC. He made his official debut on 22 September, starting in a 2–2 home draw against Genoa CFC, and scored his first goal on 2 December, netting the only in a home win over Perugia Calcio for the Coppa Italia. His sole goal of the league season came on 25 January 2015, the only one in a home victory over Atalanta BC.
Return to River
On 30 June 2015, River Plate announced that Saviola had returned to the club. He left in January of the following year, after failing to find the net in his second spell, and subsequently retired from professional football at the age of 34.
Retirement, coaching, and futsal career
Immediately after retiring, Saviola settled in Andorra with his family and was appointed assistant manager at FC Ordino in the Primera Divisió. In February 2018, he joined local futsal team Encamp. In April of that year, he won the principality's futsal league with the side.
International career
Saviola starred in the 2001 edition of the FIFA U-20 World Cup, held in Argentina. He was top scorer and was voted player of the tournament, as the national team won the competition; with 11 goals in seven games, he became the record goal-scorer in the tournament's history.
Two years later, Saviola played in the 2004 Olympic Games and won the gold medal. Under coach Marcelo Bielsa he was given few playing opportunities for the senior team but, after the former's resignation in 2004, new manager José Pékerman, who also worked with him at youth level, turned the tide in the player's favour; he was also a member of the squads that reached final of the 2004 Copa América and the 2005 FIFA Confederations Cup, netting three times in the former tournament and one in the latter.
Saviola was called up to represent Argentina at the 2006 World Cup – Luciano Figueroa and Luciano Galletti were also in contention for a place on the roster, but his excellent form for Sevilla secured his place in the squad. He scored against Ivory Coast in the country's opening game, and made two assists in the 6–0 victory over Serbia and Montenegro also in the group phase.
Saviola retired from international football on 5 December 2009, although not yet 28. He stated that he felt his career as an Argentina player had come to an end, and that he wanted to concentrate on club football.
Style of play
Saviola was known for his speed, agility, dribbling and ability to score from almost any attacking position on the field. A diminutive, talented, and prolific forward, with a slender build, he was capable of playing as a striker, in a more creative role as a second striker, or even in a playmaking role as an attacking midfielder. Throughout his career, Saviola was nicknamed El Conejo (The Rabbit, in Spanish), due to his appearance, and also El Pibito (The Little Kid, in Spanish), a reference to compatriot Diego Maradona, who was nicknamed El Pibe de Oro (The Golden Kid, in Spanish), and to whom Saviola was often compared in his youth.
Media
Saviola was sponsored by sportswear company Nike, and appeared in commercials for the brand. In a global advertising campaign in the run-up to the 2002 World Cup in Korea and Japan, he starred in a "Secret Tournament" commercial (branded "Scopion KO") directed by Terry Gilliam, appearing alongside footballers such as Luís Figo, Thierry Henry, Hidetoshi Nakata, Roberto Carlos, Ronaldinho, Ronaldo and Francesco Totti, with former player Eric Cantona the tournament "referee".
Career statistics
Club
International
Scores and results list Argentina's goal tally first, score column indicates score after each Saviola goal.
Honours
River Plate
Argentine Primera División: 1999 Apertura, 2000 Clausura
Copa Libertadores: 2015
Suruga Bank Championship: 2015
FIFA Club World Cup runner-up: 2015
Sevilla
UEFA Cup: 2005–06
Real Madrid
La Liga: 2007–08
Supercopa de España: 2008
Benfica
Primeira Liga: 2009–10
Taça da Liga: 2009–10, 2010–11, 2011–12
Supertaça Cândido de Oliveira runner-up: 2010
Olympiacos
Super League Greece: 2013–14
Argentina
FIFA U-20 World Cup: 2001
Summer Olympic Games: 2004
Copa América runner-up: 2004
FIFA Confederations Cup runner-up: 2005
Individual
Argentine Primera División: 1999 Apertura Top scorer
South American Footballer of the Year: 1999
South American Team of the Year: 1999
Player of the Year of Argentina: 1999
FIFA World Youth Championship: Golden Shoe 2001
FIFA World Youth Championship: Golden Ball 2001
Trofeo EFE: 2001–02
Primeira Liga: Player of the Month December 2009
Portuguese Golden Ball: 2010
FIFA 100
References
External links
1981 births
Living people
Footballers from Buenos Aires
Argentine footballers
Argentine men's futsal players
Association football forwards
Club Atlético River Plate footballers
FC Barcelona players
AS Monaco FC players
Sevilla FC players
UEFA Cup winning players
Real Madrid CF players
S.L. Benfica footballers
Málaga CF players
Olympiacos F.C. players
Hellas Verona F.C. players
FC Encamp players
Argentine Primera División players
La Liga players
Ligue 1 players
Primeira Liga players
Super League Greece players
Serie A players
Argentina under-20 international footballers
Olympic footballers of Argentina
Argentina international footballers
2004 Copa América players
Footballers at the 2004 Summer Olympics
2005 FIFA Confederations Cup players
2006 FIFA World Cup players
Medalists at the 2004 Summer Olympics
Olympic medalists in football
Olympic gold medalists for Argentina
South American Footballer of the Year winners
FIFA 100
Argentine expatriate footballers
Argentine expatriate sportspeople in Spain
Argentine expatriate sportspeople in Monaco
Argentine expatriate sportspeople in Portugal
Argentine expatriate sportspeople in Greece
Argentine expatriate sportspeople in Italy
Argentine expatriate sportspeople in Andorra
Expatriate footballers in Spain
Expatriate footballers in Monaco
Expatriate footballers in Portugal
Expatriate footballers in Greece
Expatriate footballers in Italy
Expatriate footballers in Andorra
Naturalised citizens of Spain | false | [
"Dominica competed for the sixth time at the 2002 Commonwealth Games in Manchester. Six male athletes were sent to the games, but no females, competing in Athletics, Squash and Table Tennis They did not win any medals.\n\nSee also\n2002 Commonwealth Games results\n\nReferences\n\n2002\n2002 in Dominica sport\nNations at the 2002 Commonwealth Games",
"Sweden participated in the inaugural Paralympic Games in 1960 in Rome. The 1960 Paralympics, now considered to have been the first Paralympic Games, were initially known as the ninth Stoke Mandeville Games. The Stoke Mandeville Games were founded for athletes with disabilities in Great Britain in 1948.\n\nSweden fielded 3 competitors, all in archery. They paid for their own trip. Sweden did not win any medals at the 1960 Games.\n\nSee also\n\n Sweden at the 1960 Summer Olympics\n\nReferences\n\nNations at the 1960 Summer Paralympics\n1960\nParalympics"
]
|
[
"Javier Saviola",
"Benfica",
"what is the benfica?",
"On 22 October 2009, Saviola scored two goals for Benfica, guiding them to a 5-0 victory over Everton for the UEFA Europa League",
"Did they win any other games?",
"On 6 December 2009, Saviola scored through a chip shot against Academica de Coimbra in a 4-0 home win."
]
| C_198205535ab140bab5f5b655d7afb785_0 | Are there any other interesting aspects about this article? | 3 | Are there any other interesting aspects about this article Besides Saviola's chip shot against Academica and Benfica's victory over Everton fo the UEFA Europa League? | Javier Saviola | On 26 June 2009, S.L. Benfica and Real Madrid agreed on a EUR5 million deal that would see Saviola play in Portugal for the next three years, with an option for one more; a EUR30 million clause was added. He scored his first goal for the club on a penalty in a friendly match against FC Sion and, on 16 July, netted twice to send his team into the Guadiana Trophy finals. On 22 October 2009, Saviola scored two goals for Benfica, guiding them to a 5-0 victory over Everton for the UEFA Europa League (he would also score in the club's 2-0 win in Liverpool in the second match), adding another brace four days later in a 6-1 routing of C.D. Nacional for the Primeira Liga. On 6 December 2009, Saviola scored through a chip shot against Academica de Coimbra in a 4-0 home win. On 20 December he netted the game's only goal as Benfica defeated rivals FC Porto at home; during the victorious campaign, he formed a deadly offensive partnership with Paraguayan Oscar Cardozo, with the pair combining for more than 50 goals overall. On 3 January 2010, after receiving the Portuguese Liga Player of the Month award, Saviola scored another winning goal against Nacional, again being the game's only scorer in an away defeat of Rio Ave FC, netting in the 46th minute. He netted his 19th goal overall in a 3-1 home triumph against F.C. Pacos de Ferreira on 7 March, and Benfica were eventually crowned league champions after a five-year wait. CANNOTANSWER | S.L. Benfica and Real Madrid agreed on a EUR5 million deal that would see Saviola play in Portugal for the next three years, with an option for one more; | Javier Pedro Saviola Fernández (; born 11 December 1981) is an Argentine former professional footballer who played as a forward.
He represented both Barcelona and Real Madrid, also having notable spells with Benfica and Olympiacos, and was named as the youngest player on Pelé's FIFA 100 list of the 125 greatest living footballers in 2004. Due to his ancestry he also holds Spanish nationality since 2004, and he amassed La Liga totals of 196 games and 70 goals over the course of eight seasons; he started and finished his career at River Plate.
Saviola won league titles in Argentina, Spain, Portugal and Greece during his playing career, as well as a UEFA Cup. An Argentine international for seven years, he represented his country at the 2006 World Cup and the 2004 Copa América, where Argentina reached the final. He also won a gold medal at the 2004 Olympics in Athens.
Club career
River Plate
Nicknamed El Conejo (The Rabbit), Buenos Aires-born Saviola made his debut for Club Atlético River Plate at the age of 16, and went on to be a prolific goalscorer for the club.
He helped River to the 1999 Apertura and 2000 Clausura championships, and earned the 1999 South American Footballer of the Year award. Still only 18, he gained a reputation as a phenomenal prospect, and was even regarded as a potential heir to Diego Maradona, in particular after he broke the latter's 1978 record by becoming the youngest player to win the Golden Boot award.
Barcelona
In 2001, aged 19, Saviola moved abroad to play for FC Barcelona in a £15 million transfer. He obtained Spanish citizenship shortly after, thereby not being restricted by the Spanish league maximum on the number of non-European Union citizens allowed in each team; under coach Carles Rexach, he scored 17 goals in his first season, finishing joint-fourth top scorer in La Liga.
Saviola's second year at the Camp Nou did not start well, as he only scored two goals in the first half of the season. Radomir Antić became the new coach after Louis van Gaal was fired, and he went on to net 11 goals in the latter half of the campaign; Frank Rijkaard was subsequently appointed as new manager for 2003–04, and the player scored 14 times in the league alone, but was deemed surplus at the club as was longtime attacking partner Patrick Kluivert.
Saviola was sent on loan in the summer of 2004, moving to AS Monaco FC in Ligue 1. As he did not fit into Rijkaard's plans he was again loaned out the following year, this time to Sevilla FC who were seeking to replace Real Madrid-bound Júlio Baptista; with the Andalusians he won his first title in Europe, conquering the UEFA Cup — he also scored nine times in the league, good enough for fifth.
Saviola returned to Barcelona for 2006–07, playing in 18 league games, six as a starter, and netting five goals. He benefited greatly from injuries to teammates, most notably to Samuel Eto'o, and added five in as many matches in that season's Copa del Rey, notably a hat-trick against Deportivo Alavés (3–2 win at home, 5–2 aggregate).
Real Madrid
On 10 July 2007, Real Madrid signed Saviola after his Barcelona contract expired, on a three-year deal. Although on a financially lucrative contract, he endured a difficult time at Real, being mainly restricted to cup matches and sporadic appearances (mainly as a substitute) in the league and the UEFA Champions League.
The arrival of Klaas-Jan Huntelaar limited Saviola's opportunities even more, and he finished his Real Madrid spell with five goals in 28 overall appearances.
Benfica
On 26 June 2009, S.L. Benfica and Real Madrid agreed on a €5 million deal that would see Saviola play in Portugal for the next three years, with an option for one more; a €30 million clause was added. On 16 July, he scored two goals to send his team into the Guadiana Trophy finals after defeating Athletic Bilbao.
Saviola netted twice on 22 October 2009, guiding his side to a 5–0 victory over Everton for the UEFA Europa League (he would also score in their 2–0 win in Liverpool in the second match), adding another brace four days later in a 6–1 routing of C.D. Nacional for the Primeira Liga.
On 6 December 2009, Saviola scored through a chip shot against Académica de Coimbra in a 4–0 home win. On 20 December he netted the game's only goal as Benfica defeated rivals FC Porto at home; during the victorious campaign, he formed a deadly attacking partnership with Paraguayan Óscar Cardozo, with the pair combining for more than 50 goals overall.
On 3 January 2010, shortly before receiving the SJPF Player of the Month award, Saviola scored another winning goal against Nacional, now for the Taça da Liga, again being the game's only scorer in an away defeat of Rio Ave FC, netting in the 48th minute. He scored his 19th goal overall in a 3–1 home triumph against F.C. Paços de Ferreira on 7 March, and the Lisbon club was eventually crowned league champions
Málaga
In the last hours of the 2012–13 summer transfer window, Saviola agreed on a move to Málaga CF. He played 45 minutes in his first appearance, a 1–0 win at Real Zaragoza on 1 September.
On 15 September 2012, Saviola scored once and provided one assist in a 3−1 home win against Levante UD. He continued with his streak the following game, Málaga's first-ever in the Champions League group stage, netting in a 3–0 home win over FC Zenit Saint Petersburg.
Olympiacos
On 25 July 2013, Saviola signed a two-year contract with Greek champions Olympiacos FC. He scored his first goal in the Superleague on 25 August, coming on at half-time and helping his team come from behind to win 2–1 at home to Atromitos F.C. On 10 December he netted a brace – and also missed a penalty – in a 3–1 success over R.S.C. Anderlecht also at the Karaiskakis Stadium in the group stage's last round, which helped the Piraeus team finish second and qualify at the expense of former side Benfica.
Verona
On 2 September 2014, Saviola joined Serie A club Hellas Verona FC. He made his official debut on 22 September, starting in a 2–2 home draw against Genoa CFC, and scored his first goal on 2 December, netting the only in a home win over Perugia Calcio for the Coppa Italia. His sole goal of the league season came on 25 January 2015, the only one in a home victory over Atalanta BC.
Return to River
On 30 June 2015, River Plate announced that Saviola had returned to the club. He left in January of the following year, after failing to find the net in his second spell, and subsequently retired from professional football at the age of 34.
Retirement, coaching, and futsal career
Immediately after retiring, Saviola settled in Andorra with his family and was appointed assistant manager at FC Ordino in the Primera Divisió. In February 2018, he joined local futsal team Encamp. In April of that year, he won the principality's futsal league with the side.
International career
Saviola starred in the 2001 edition of the FIFA U-20 World Cup, held in Argentina. He was top scorer and was voted player of the tournament, as the national team won the competition; with 11 goals in seven games, he became the record goal-scorer in the tournament's history.
Two years later, Saviola played in the 2004 Olympic Games and won the gold medal. Under coach Marcelo Bielsa he was given few playing opportunities for the senior team but, after the former's resignation in 2004, new manager José Pékerman, who also worked with him at youth level, turned the tide in the player's favour; he was also a member of the squads that reached final of the 2004 Copa América and the 2005 FIFA Confederations Cup, netting three times in the former tournament and one in the latter.
Saviola was called up to represent Argentina at the 2006 World Cup – Luciano Figueroa and Luciano Galletti were also in contention for a place on the roster, but his excellent form for Sevilla secured his place in the squad. He scored against Ivory Coast in the country's opening game, and made two assists in the 6–0 victory over Serbia and Montenegro also in the group phase.
Saviola retired from international football on 5 December 2009, although not yet 28. He stated that he felt his career as an Argentina player had come to an end, and that he wanted to concentrate on club football.
Style of play
Saviola was known for his speed, agility, dribbling and ability to score from almost any attacking position on the field. A diminutive, talented, and prolific forward, with a slender build, he was capable of playing as a striker, in a more creative role as a second striker, or even in a playmaking role as an attacking midfielder. Throughout his career, Saviola was nicknamed El Conejo (The Rabbit, in Spanish), due to his appearance, and also El Pibito (The Little Kid, in Spanish), a reference to compatriot Diego Maradona, who was nicknamed El Pibe de Oro (The Golden Kid, in Spanish), and to whom Saviola was often compared in his youth.
Media
Saviola was sponsored by sportswear company Nike, and appeared in commercials for the brand. In a global advertising campaign in the run-up to the 2002 World Cup in Korea and Japan, he starred in a "Secret Tournament" commercial (branded "Scopion KO") directed by Terry Gilliam, appearing alongside footballers such as Luís Figo, Thierry Henry, Hidetoshi Nakata, Roberto Carlos, Ronaldinho, Ronaldo and Francesco Totti, with former player Eric Cantona the tournament "referee".
Career statistics
Club
International
Scores and results list Argentina's goal tally first, score column indicates score after each Saviola goal.
Honours
River Plate
Argentine Primera División: 1999 Apertura, 2000 Clausura
Copa Libertadores: 2015
Suruga Bank Championship: 2015
FIFA Club World Cup runner-up: 2015
Sevilla
UEFA Cup: 2005–06
Real Madrid
La Liga: 2007–08
Supercopa de España: 2008
Benfica
Primeira Liga: 2009–10
Taça da Liga: 2009–10, 2010–11, 2011–12
Supertaça Cândido de Oliveira runner-up: 2010
Olympiacos
Super League Greece: 2013–14
Argentina
FIFA U-20 World Cup: 2001
Summer Olympic Games: 2004
Copa América runner-up: 2004
FIFA Confederations Cup runner-up: 2005
Individual
Argentine Primera División: 1999 Apertura Top scorer
South American Footballer of the Year: 1999
South American Team of the Year: 1999
Player of the Year of Argentina: 1999
FIFA World Youth Championship: Golden Shoe 2001
FIFA World Youth Championship: Golden Ball 2001
Trofeo EFE: 2001–02
Primeira Liga: Player of the Month December 2009
Portuguese Golden Ball: 2010
FIFA 100
References
External links
1981 births
Living people
Footballers from Buenos Aires
Argentine footballers
Argentine men's futsal players
Association football forwards
Club Atlético River Plate footballers
FC Barcelona players
AS Monaco FC players
Sevilla FC players
UEFA Cup winning players
Real Madrid CF players
S.L. Benfica footballers
Málaga CF players
Olympiacos F.C. players
Hellas Verona F.C. players
FC Encamp players
Argentine Primera División players
La Liga players
Ligue 1 players
Primeira Liga players
Super League Greece players
Serie A players
Argentina under-20 international footballers
Olympic footballers of Argentina
Argentina international footballers
2004 Copa América players
Footballers at the 2004 Summer Olympics
2005 FIFA Confederations Cup players
2006 FIFA World Cup players
Medalists at the 2004 Summer Olympics
Olympic medalists in football
Olympic gold medalists for Argentina
South American Footballer of the Year winners
FIFA 100
Argentine expatriate footballers
Argentine expatriate sportspeople in Spain
Argentine expatriate sportspeople in Monaco
Argentine expatriate sportspeople in Portugal
Argentine expatriate sportspeople in Greece
Argentine expatriate sportspeople in Italy
Argentine expatriate sportspeople in Andorra
Expatriate footballers in Spain
Expatriate footballers in Monaco
Expatriate footballers in Portugal
Expatriate footballers in Greece
Expatriate footballers in Italy
Expatriate footballers in Andorra
Naturalised citizens of Spain | 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"
]
|
[
"Javier Saviola",
"Benfica",
"what is the benfica?",
"On 22 October 2009, Saviola scored two goals for Benfica, guiding them to a 5-0 victory over Everton for the UEFA Europa League",
"Did they win any other games?",
"On 6 December 2009, Saviola scored through a chip shot against Academica de Coimbra in a 4-0 home win.",
"Are there any other interesting aspects about this article?",
"S.L. Benfica and Real Madrid agreed on a EUR5 million deal that would see Saviola play in Portugal for the next three years, with an option for one more;"
]
| C_198205535ab140bab5f5b655d7afb785_0 | did he make any money playing? | 4 | did Saviola make any money playing in Portugal? | Javier Saviola | On 26 June 2009, S.L. Benfica and Real Madrid agreed on a EUR5 million deal that would see Saviola play in Portugal for the next three years, with an option for one more; a EUR30 million clause was added. He scored his first goal for the club on a penalty in a friendly match against FC Sion and, on 16 July, netted twice to send his team into the Guadiana Trophy finals. On 22 October 2009, Saviola scored two goals for Benfica, guiding them to a 5-0 victory over Everton for the UEFA Europa League (he would also score in the club's 2-0 win in Liverpool in the second match), adding another brace four days later in a 6-1 routing of C.D. Nacional for the Primeira Liga. On 6 December 2009, Saviola scored through a chip shot against Academica de Coimbra in a 4-0 home win. On 20 December he netted the game's only goal as Benfica defeated rivals FC Porto at home; during the victorious campaign, he formed a deadly offensive partnership with Paraguayan Oscar Cardozo, with the pair combining for more than 50 goals overall. On 3 January 2010, after receiving the Portuguese Liga Player of the Month award, Saviola scored another winning goal against Nacional, again being the game's only scorer in an away defeat of Rio Ave FC, netting in the 46th minute. He netted his 19th goal overall in a 3-1 home triumph against F.C. Pacos de Ferreira on 7 March, and Benfica were eventually crowned league champions after a five-year wait. CANNOTANSWER | CANNOTANSWER | Javier Pedro Saviola Fernández (; born 11 December 1981) is an Argentine former professional footballer who played as a forward.
He represented both Barcelona and Real Madrid, also having notable spells with Benfica and Olympiacos, and was named as the youngest player on Pelé's FIFA 100 list of the 125 greatest living footballers in 2004. Due to his ancestry he also holds Spanish nationality since 2004, and he amassed La Liga totals of 196 games and 70 goals over the course of eight seasons; he started and finished his career at River Plate.
Saviola won league titles in Argentina, Spain, Portugal and Greece during his playing career, as well as a UEFA Cup. An Argentine international for seven years, he represented his country at the 2006 World Cup and the 2004 Copa América, where Argentina reached the final. He also won a gold medal at the 2004 Olympics in Athens.
Club career
River Plate
Nicknamed El Conejo (The Rabbit), Buenos Aires-born Saviola made his debut for Club Atlético River Plate at the age of 16, and went on to be a prolific goalscorer for the club.
He helped River to the 1999 Apertura and 2000 Clausura championships, and earned the 1999 South American Footballer of the Year award. Still only 18, he gained a reputation as a phenomenal prospect, and was even regarded as a potential heir to Diego Maradona, in particular after he broke the latter's 1978 record by becoming the youngest player to win the Golden Boot award.
Barcelona
In 2001, aged 19, Saviola moved abroad to play for FC Barcelona in a £15 million transfer. He obtained Spanish citizenship shortly after, thereby not being restricted by the Spanish league maximum on the number of non-European Union citizens allowed in each team; under coach Carles Rexach, he scored 17 goals in his first season, finishing joint-fourth top scorer in La Liga.
Saviola's second year at the Camp Nou did not start well, as he only scored two goals in the first half of the season. Radomir Antić became the new coach after Louis van Gaal was fired, and he went on to net 11 goals in the latter half of the campaign; Frank Rijkaard was subsequently appointed as new manager for 2003–04, and the player scored 14 times in the league alone, but was deemed surplus at the club as was longtime attacking partner Patrick Kluivert.
Saviola was sent on loan in the summer of 2004, moving to AS Monaco FC in Ligue 1. As he did not fit into Rijkaard's plans he was again loaned out the following year, this time to Sevilla FC who were seeking to replace Real Madrid-bound Júlio Baptista; with the Andalusians he won his first title in Europe, conquering the UEFA Cup — he also scored nine times in the league, good enough for fifth.
Saviola returned to Barcelona for 2006–07, playing in 18 league games, six as a starter, and netting five goals. He benefited greatly from injuries to teammates, most notably to Samuel Eto'o, and added five in as many matches in that season's Copa del Rey, notably a hat-trick against Deportivo Alavés (3–2 win at home, 5–2 aggregate).
Real Madrid
On 10 July 2007, Real Madrid signed Saviola after his Barcelona contract expired, on a three-year deal. Although on a financially lucrative contract, he endured a difficult time at Real, being mainly restricted to cup matches and sporadic appearances (mainly as a substitute) in the league and the UEFA Champions League.
The arrival of Klaas-Jan Huntelaar limited Saviola's opportunities even more, and he finished his Real Madrid spell with five goals in 28 overall appearances.
Benfica
On 26 June 2009, S.L. Benfica and Real Madrid agreed on a €5 million deal that would see Saviola play in Portugal for the next three years, with an option for one more; a €30 million clause was added. On 16 July, he scored two goals to send his team into the Guadiana Trophy finals after defeating Athletic Bilbao.
Saviola netted twice on 22 October 2009, guiding his side to a 5–0 victory over Everton for the UEFA Europa League (he would also score in their 2–0 win in Liverpool in the second match), adding another brace four days later in a 6–1 routing of C.D. Nacional for the Primeira Liga.
On 6 December 2009, Saviola scored through a chip shot against Académica de Coimbra in a 4–0 home win. On 20 December he netted the game's only goal as Benfica defeated rivals FC Porto at home; during the victorious campaign, he formed a deadly attacking partnership with Paraguayan Óscar Cardozo, with the pair combining for more than 50 goals overall.
On 3 January 2010, shortly before receiving the SJPF Player of the Month award, Saviola scored another winning goal against Nacional, now for the Taça da Liga, again being the game's only scorer in an away defeat of Rio Ave FC, netting in the 48th minute. He scored his 19th goal overall in a 3–1 home triumph against F.C. Paços de Ferreira on 7 March, and the Lisbon club was eventually crowned league champions
Málaga
In the last hours of the 2012–13 summer transfer window, Saviola agreed on a move to Málaga CF. He played 45 minutes in his first appearance, a 1–0 win at Real Zaragoza on 1 September.
On 15 September 2012, Saviola scored once and provided one assist in a 3−1 home win against Levante UD. He continued with his streak the following game, Málaga's first-ever in the Champions League group stage, netting in a 3–0 home win over FC Zenit Saint Petersburg.
Olympiacos
On 25 July 2013, Saviola signed a two-year contract with Greek champions Olympiacos FC. He scored his first goal in the Superleague on 25 August, coming on at half-time and helping his team come from behind to win 2–1 at home to Atromitos F.C. On 10 December he netted a brace – and also missed a penalty – in a 3–1 success over R.S.C. Anderlecht also at the Karaiskakis Stadium in the group stage's last round, which helped the Piraeus team finish second and qualify at the expense of former side Benfica.
Verona
On 2 September 2014, Saviola joined Serie A club Hellas Verona FC. He made his official debut on 22 September, starting in a 2–2 home draw against Genoa CFC, and scored his first goal on 2 December, netting the only in a home win over Perugia Calcio for the Coppa Italia. His sole goal of the league season came on 25 January 2015, the only one in a home victory over Atalanta BC.
Return to River
On 30 June 2015, River Plate announced that Saviola had returned to the club. He left in January of the following year, after failing to find the net in his second spell, and subsequently retired from professional football at the age of 34.
Retirement, coaching, and futsal career
Immediately after retiring, Saviola settled in Andorra with his family and was appointed assistant manager at FC Ordino in the Primera Divisió. In February 2018, he joined local futsal team Encamp. In April of that year, he won the principality's futsal league with the side.
International career
Saviola starred in the 2001 edition of the FIFA U-20 World Cup, held in Argentina. He was top scorer and was voted player of the tournament, as the national team won the competition; with 11 goals in seven games, he became the record goal-scorer in the tournament's history.
Two years later, Saviola played in the 2004 Olympic Games and won the gold medal. Under coach Marcelo Bielsa he was given few playing opportunities for the senior team but, after the former's resignation in 2004, new manager José Pékerman, who also worked with him at youth level, turned the tide in the player's favour; he was also a member of the squads that reached final of the 2004 Copa América and the 2005 FIFA Confederations Cup, netting three times in the former tournament and one in the latter.
Saviola was called up to represent Argentina at the 2006 World Cup – Luciano Figueroa and Luciano Galletti were also in contention for a place on the roster, but his excellent form for Sevilla secured his place in the squad. He scored against Ivory Coast in the country's opening game, and made two assists in the 6–0 victory over Serbia and Montenegro also in the group phase.
Saviola retired from international football on 5 December 2009, although not yet 28. He stated that he felt his career as an Argentina player had come to an end, and that he wanted to concentrate on club football.
Style of play
Saviola was known for his speed, agility, dribbling and ability to score from almost any attacking position on the field. A diminutive, talented, and prolific forward, with a slender build, he was capable of playing as a striker, in a more creative role as a second striker, or even in a playmaking role as an attacking midfielder. Throughout his career, Saviola was nicknamed El Conejo (The Rabbit, in Spanish), due to his appearance, and also El Pibito (The Little Kid, in Spanish), a reference to compatriot Diego Maradona, who was nicknamed El Pibe de Oro (The Golden Kid, in Spanish), and to whom Saviola was often compared in his youth.
Media
Saviola was sponsored by sportswear company Nike, and appeared in commercials for the brand. In a global advertising campaign in the run-up to the 2002 World Cup in Korea and Japan, he starred in a "Secret Tournament" commercial (branded "Scopion KO") directed by Terry Gilliam, appearing alongside footballers such as Luís Figo, Thierry Henry, Hidetoshi Nakata, Roberto Carlos, Ronaldinho, Ronaldo and Francesco Totti, with former player Eric Cantona the tournament "referee".
Career statistics
Club
International
Scores and results list Argentina's goal tally first, score column indicates score after each Saviola goal.
Honours
River Plate
Argentine Primera División: 1999 Apertura, 2000 Clausura
Copa Libertadores: 2015
Suruga Bank Championship: 2015
FIFA Club World Cup runner-up: 2015
Sevilla
UEFA Cup: 2005–06
Real Madrid
La Liga: 2007–08
Supercopa de España: 2008
Benfica
Primeira Liga: 2009–10
Taça da Liga: 2009–10, 2010–11, 2011–12
Supertaça Cândido de Oliveira runner-up: 2010
Olympiacos
Super League Greece: 2013–14
Argentina
FIFA U-20 World Cup: 2001
Summer Olympic Games: 2004
Copa América runner-up: 2004
FIFA Confederations Cup runner-up: 2005
Individual
Argentine Primera División: 1999 Apertura Top scorer
South American Footballer of the Year: 1999
South American Team of the Year: 1999
Player of the Year of Argentina: 1999
FIFA World Youth Championship: Golden Shoe 2001
FIFA World Youth Championship: Golden Ball 2001
Trofeo EFE: 2001–02
Primeira Liga: Player of the Month December 2009
Portuguese Golden Ball: 2010
FIFA 100
References
External links
1981 births
Living people
Footballers from Buenos Aires
Argentine footballers
Argentine men's futsal players
Association football forwards
Club Atlético River Plate footballers
FC Barcelona players
AS Monaco FC players
Sevilla FC players
UEFA Cup winning players
Real Madrid CF players
S.L. Benfica footballers
Málaga CF players
Olympiacos F.C. players
Hellas Verona F.C. players
FC Encamp players
Argentine Primera División players
La Liga players
Ligue 1 players
Primeira Liga players
Super League Greece players
Serie A players
Argentina under-20 international footballers
Olympic footballers of Argentina
Argentina international footballers
2004 Copa América players
Footballers at the 2004 Summer Olympics
2005 FIFA Confederations Cup players
2006 FIFA World Cup players
Medalists at the 2004 Summer Olympics
Olympic medalists in football
Olympic gold medalists for Argentina
South American Footballer of the Year winners
FIFA 100
Argentine expatriate footballers
Argentine expatriate sportspeople in Spain
Argentine expatriate sportspeople in Monaco
Argentine expatriate sportspeople in Portugal
Argentine expatriate sportspeople in Greece
Argentine expatriate sportspeople in Italy
Argentine expatriate sportspeople in Andorra
Expatriate footballers in Spain
Expatriate footballers in Monaco
Expatriate footballers in Portugal
Expatriate footballers in Greece
Expatriate footballers in Italy
Expatriate footballers in Andorra
Naturalised citizens of Spain | false | [
"Matt Weingart (born 26 June 1982 in Canada) was a Canadian rugby union player. His playing position was scrum-half. He was named in the Canada squad for the 2007 Rugby World Cup, although he did not make any appearances in the tournament. He though did make 7 international appearances for Canada between 2004 and 2007, before starting the sports clothing brand Dryworld.\n\nReference list\n\nExternal links\nitsrugby.co.uk profile\n\n1982 births\nCanadian rugby union players\nCanada international rugby union players\nLiving people\nRugby union scrum-halves\nPeople from the Cariboo Regional District",
"is a former Japanese rugby union player who played as a scrum-half. He spent his whole career playing for Toyota Verblitz in Japan's domestic Top League, playing over 75 times and captaining the side. His performances domestically earned him a call-up as a replacement player for the 2011 Rugby World Cup for Japan. He though did not make an appearance at the World Cup, or in any other matches for Japan.\n\nReferences\n\nExternal links\nitsrugby.co.uk profile\n\n1980 births\nLiving people\nJapanese rugby union players\nRugby union scrum-halves\nToyota Verblitz players"
]
|
[
"Javier Saviola",
"Benfica",
"what is the benfica?",
"On 22 October 2009, Saviola scored two goals for Benfica, guiding them to a 5-0 victory over Everton for the UEFA Europa League",
"Did they win any other games?",
"On 6 December 2009, Saviola scored through a chip shot against Academica de Coimbra in a 4-0 home win.",
"Are there any other interesting aspects about this article?",
"S.L. Benfica and Real Madrid agreed on a EUR5 million deal that would see Saviola play in Portugal for the next three years, with an option for one more;",
"did he make any money playing?",
"I don't know."
]
| C_198205535ab140bab5f5b655d7afb785_0 | How long did he play? | 5 | How long did Saviola play football? | Javier Saviola | On 26 June 2009, S.L. Benfica and Real Madrid agreed on a EUR5 million deal that would see Saviola play in Portugal for the next three years, with an option for one more; a EUR30 million clause was added. He scored his first goal for the club on a penalty in a friendly match against FC Sion and, on 16 July, netted twice to send his team into the Guadiana Trophy finals. On 22 October 2009, Saviola scored two goals for Benfica, guiding them to a 5-0 victory over Everton for the UEFA Europa League (he would also score in the club's 2-0 win in Liverpool in the second match), adding another brace four days later in a 6-1 routing of C.D. Nacional for the Primeira Liga. On 6 December 2009, Saviola scored through a chip shot against Academica de Coimbra in a 4-0 home win. On 20 December he netted the game's only goal as Benfica defeated rivals FC Porto at home; during the victorious campaign, he formed a deadly offensive partnership with Paraguayan Oscar Cardozo, with the pair combining for more than 50 goals overall. On 3 January 2010, after receiving the Portuguese Liga Player of the Month award, Saviola scored another winning goal against Nacional, again being the game's only scorer in an away defeat of Rio Ave FC, netting in the 46th minute. He netted his 19th goal overall in a 3-1 home triumph against F.C. Pacos de Ferreira on 7 March, and Benfica were eventually crowned league champions after a five-year wait. CANNOTANSWER | CANNOTANSWER | Javier Pedro Saviola Fernández (; born 11 December 1981) is an Argentine former professional footballer who played as a forward.
He represented both Barcelona and Real Madrid, also having notable spells with Benfica and Olympiacos, and was named as the youngest player on Pelé's FIFA 100 list of the 125 greatest living footballers in 2004. Due to his ancestry he also holds Spanish nationality since 2004, and he amassed La Liga totals of 196 games and 70 goals over the course of eight seasons; he started and finished his career at River Plate.
Saviola won league titles in Argentina, Spain, Portugal and Greece during his playing career, as well as a UEFA Cup. An Argentine international for seven years, he represented his country at the 2006 World Cup and the 2004 Copa América, where Argentina reached the final. He also won a gold medal at the 2004 Olympics in Athens.
Club career
River Plate
Nicknamed El Conejo (The Rabbit), Buenos Aires-born Saviola made his debut for Club Atlético River Plate at the age of 16, and went on to be a prolific goalscorer for the club.
He helped River to the 1999 Apertura and 2000 Clausura championships, and earned the 1999 South American Footballer of the Year award. Still only 18, he gained a reputation as a phenomenal prospect, and was even regarded as a potential heir to Diego Maradona, in particular after he broke the latter's 1978 record by becoming the youngest player to win the Golden Boot award.
Barcelona
In 2001, aged 19, Saviola moved abroad to play for FC Barcelona in a £15 million transfer. He obtained Spanish citizenship shortly after, thereby not being restricted by the Spanish league maximum on the number of non-European Union citizens allowed in each team; under coach Carles Rexach, he scored 17 goals in his first season, finishing joint-fourth top scorer in La Liga.
Saviola's second year at the Camp Nou did not start well, as he only scored two goals in the first half of the season. Radomir Antić became the new coach after Louis van Gaal was fired, and he went on to net 11 goals in the latter half of the campaign; Frank Rijkaard was subsequently appointed as new manager for 2003–04, and the player scored 14 times in the league alone, but was deemed surplus at the club as was longtime attacking partner Patrick Kluivert.
Saviola was sent on loan in the summer of 2004, moving to AS Monaco FC in Ligue 1. As he did not fit into Rijkaard's plans he was again loaned out the following year, this time to Sevilla FC who were seeking to replace Real Madrid-bound Júlio Baptista; with the Andalusians he won his first title in Europe, conquering the UEFA Cup — he also scored nine times in the league, good enough for fifth.
Saviola returned to Barcelona for 2006–07, playing in 18 league games, six as a starter, and netting five goals. He benefited greatly from injuries to teammates, most notably to Samuel Eto'o, and added five in as many matches in that season's Copa del Rey, notably a hat-trick against Deportivo Alavés (3–2 win at home, 5–2 aggregate).
Real Madrid
On 10 July 2007, Real Madrid signed Saviola after his Barcelona contract expired, on a three-year deal. Although on a financially lucrative contract, he endured a difficult time at Real, being mainly restricted to cup matches and sporadic appearances (mainly as a substitute) in the league and the UEFA Champions League.
The arrival of Klaas-Jan Huntelaar limited Saviola's opportunities even more, and he finished his Real Madrid spell with five goals in 28 overall appearances.
Benfica
On 26 June 2009, S.L. Benfica and Real Madrid agreed on a €5 million deal that would see Saviola play in Portugal for the next three years, with an option for one more; a €30 million clause was added. On 16 July, he scored two goals to send his team into the Guadiana Trophy finals after defeating Athletic Bilbao.
Saviola netted twice on 22 October 2009, guiding his side to a 5–0 victory over Everton for the UEFA Europa League (he would also score in their 2–0 win in Liverpool in the second match), adding another brace four days later in a 6–1 routing of C.D. Nacional for the Primeira Liga.
On 6 December 2009, Saviola scored through a chip shot against Académica de Coimbra in a 4–0 home win. On 20 December he netted the game's only goal as Benfica defeated rivals FC Porto at home; during the victorious campaign, he formed a deadly attacking partnership with Paraguayan Óscar Cardozo, with the pair combining for more than 50 goals overall.
On 3 January 2010, shortly before receiving the SJPF Player of the Month award, Saviola scored another winning goal against Nacional, now for the Taça da Liga, again being the game's only scorer in an away defeat of Rio Ave FC, netting in the 48th minute. He scored his 19th goal overall in a 3–1 home triumph against F.C. Paços de Ferreira on 7 March, and the Lisbon club was eventually crowned league champions
Málaga
In the last hours of the 2012–13 summer transfer window, Saviola agreed on a move to Málaga CF. He played 45 minutes in his first appearance, a 1–0 win at Real Zaragoza on 1 September.
On 15 September 2012, Saviola scored once and provided one assist in a 3−1 home win against Levante UD. He continued with his streak the following game, Málaga's first-ever in the Champions League group stage, netting in a 3–0 home win over FC Zenit Saint Petersburg.
Olympiacos
On 25 July 2013, Saviola signed a two-year contract with Greek champions Olympiacos FC. He scored his first goal in the Superleague on 25 August, coming on at half-time and helping his team come from behind to win 2–1 at home to Atromitos F.C. On 10 December he netted a brace – and also missed a penalty – in a 3–1 success over R.S.C. Anderlecht also at the Karaiskakis Stadium in the group stage's last round, which helped the Piraeus team finish second and qualify at the expense of former side Benfica.
Verona
On 2 September 2014, Saviola joined Serie A club Hellas Verona FC. He made his official debut on 22 September, starting in a 2–2 home draw against Genoa CFC, and scored his first goal on 2 December, netting the only in a home win over Perugia Calcio for the Coppa Italia. His sole goal of the league season came on 25 January 2015, the only one in a home victory over Atalanta BC.
Return to River
On 30 June 2015, River Plate announced that Saviola had returned to the club. He left in January of the following year, after failing to find the net in his second spell, and subsequently retired from professional football at the age of 34.
Retirement, coaching, and futsal career
Immediately after retiring, Saviola settled in Andorra with his family and was appointed assistant manager at FC Ordino in the Primera Divisió. In February 2018, he joined local futsal team Encamp. In April of that year, he won the principality's futsal league with the side.
International career
Saviola starred in the 2001 edition of the FIFA U-20 World Cup, held in Argentina. He was top scorer and was voted player of the tournament, as the national team won the competition; with 11 goals in seven games, he became the record goal-scorer in the tournament's history.
Two years later, Saviola played in the 2004 Olympic Games and won the gold medal. Under coach Marcelo Bielsa he was given few playing opportunities for the senior team but, after the former's resignation in 2004, new manager José Pékerman, who also worked with him at youth level, turned the tide in the player's favour; he was also a member of the squads that reached final of the 2004 Copa América and the 2005 FIFA Confederations Cup, netting three times in the former tournament and one in the latter.
Saviola was called up to represent Argentina at the 2006 World Cup – Luciano Figueroa and Luciano Galletti were also in contention for a place on the roster, but his excellent form for Sevilla secured his place in the squad. He scored against Ivory Coast in the country's opening game, and made two assists in the 6–0 victory over Serbia and Montenegro also in the group phase.
Saviola retired from international football on 5 December 2009, although not yet 28. He stated that he felt his career as an Argentina player had come to an end, and that he wanted to concentrate on club football.
Style of play
Saviola was known for his speed, agility, dribbling and ability to score from almost any attacking position on the field. A diminutive, talented, and prolific forward, with a slender build, he was capable of playing as a striker, in a more creative role as a second striker, or even in a playmaking role as an attacking midfielder. Throughout his career, Saviola was nicknamed El Conejo (The Rabbit, in Spanish), due to his appearance, and also El Pibito (The Little Kid, in Spanish), a reference to compatriot Diego Maradona, who was nicknamed El Pibe de Oro (The Golden Kid, in Spanish), and to whom Saviola was often compared in his youth.
Media
Saviola was sponsored by sportswear company Nike, and appeared in commercials for the brand. In a global advertising campaign in the run-up to the 2002 World Cup in Korea and Japan, he starred in a "Secret Tournament" commercial (branded "Scopion KO") directed by Terry Gilliam, appearing alongside footballers such as Luís Figo, Thierry Henry, Hidetoshi Nakata, Roberto Carlos, Ronaldinho, Ronaldo and Francesco Totti, with former player Eric Cantona the tournament "referee".
Career statistics
Club
International
Scores and results list Argentina's goal tally first, score column indicates score after each Saviola goal.
Honours
River Plate
Argentine Primera División: 1999 Apertura, 2000 Clausura
Copa Libertadores: 2015
Suruga Bank Championship: 2015
FIFA Club World Cup runner-up: 2015
Sevilla
UEFA Cup: 2005–06
Real Madrid
La Liga: 2007–08
Supercopa de España: 2008
Benfica
Primeira Liga: 2009–10
Taça da Liga: 2009–10, 2010–11, 2011–12
Supertaça Cândido de Oliveira runner-up: 2010
Olympiacos
Super League Greece: 2013–14
Argentina
FIFA U-20 World Cup: 2001
Summer Olympic Games: 2004
Copa América runner-up: 2004
FIFA Confederations Cup runner-up: 2005
Individual
Argentine Primera División: 1999 Apertura Top scorer
South American Footballer of the Year: 1999
South American Team of the Year: 1999
Player of the Year of Argentina: 1999
FIFA World Youth Championship: Golden Shoe 2001
FIFA World Youth Championship: Golden Ball 2001
Trofeo EFE: 2001–02
Primeira Liga: Player of the Month December 2009
Portuguese Golden Ball: 2010
FIFA 100
References
External links
1981 births
Living people
Footballers from Buenos Aires
Argentine footballers
Argentine men's futsal players
Association football forwards
Club Atlético River Plate footballers
FC Barcelona players
AS Monaco FC players
Sevilla FC players
UEFA Cup winning players
Real Madrid CF players
S.L. Benfica footballers
Málaga CF players
Olympiacos F.C. players
Hellas Verona F.C. players
FC Encamp players
Argentine Primera División players
La Liga players
Ligue 1 players
Primeira Liga players
Super League Greece players
Serie A players
Argentina under-20 international footballers
Olympic footballers of Argentina
Argentina international footballers
2004 Copa América players
Footballers at the 2004 Summer Olympics
2005 FIFA Confederations Cup players
2006 FIFA World Cup players
Medalists at the 2004 Summer Olympics
Olympic medalists in football
Olympic gold medalists for Argentina
South American Footballer of the Year winners
FIFA 100
Argentine expatriate footballers
Argentine expatriate sportspeople in Spain
Argentine expatriate sportspeople in Monaco
Argentine expatriate sportspeople in Portugal
Argentine expatriate sportspeople in Greece
Argentine expatriate sportspeople in Italy
Argentine expatriate sportspeople in Andorra
Expatriate footballers in Spain
Expatriate footballers in Monaco
Expatriate footballers in Portugal
Expatriate footballers in Greece
Expatriate footballers in Italy
Expatriate footballers in Andorra
Naturalised citizens of Spain | false | [
"How Did You Know is an extended play (EP) by Jamaican electronic dance musician Kurtis Mantronik. The EP was released in 2003 on the Southern Fried Records label, and features British singer Mim on vocals. \"How Did You Know (77 Strings)\" was released as a single from the EP, reaching number 16 on the UK Singles Chart and number three in Romania. The title track peaked atop the US Billboard Hot Dance Club Play chart in May 2004.\n\nTrack listing\n \"How Did You Know (Radio Edit)\" (Kurtis Mantronik, Miriam Grey - vocals) – 3:33 \n \"How Did You Know (Original Vocal)\" (Mantronik, Grey - vocals) – 6:35 \n \"How Did You Know (Tony Senghore Vocal)\" (Mantronik, Grey - vocals, Tony Senghore - remix) – 6:31 \n \"77 Strings (Original Instrumental)\" (Mantronik) – 7:57\n\nCharts\nThe following chart entries are for \"How Did You Know (77 Strings)\".\n\nWeekly charts\n\nYear-end charts\n\nRelease history\n\nReferences\n\nExternal links\n \n\n2003 EPs\n2003 singles\nAlbums produced by Kurtis Mantronik\nSouthern Fried Records albums",
"How to Play the Piano was a British television series which was aired in 1950 on BBC. In the programme, Sidney Harrison showed how to play the piano to a pupil, Edward Goodwin. Episode titles included \"how to practise\", \"how to play with expression\", and \"how do you play?\". It aired in a 30-minute time-slot.\n\nSee also\nPiano Lesson TV series\n\nReferences\n\nExternal links\nHow to Play the Piano on IMDb\nhow long does it take to learn piano\nHow to Learn How to Play Piano\n\n1950s British music television series\n1950 British television series debuts\n1950 British television series endings\nLost BBC episodes\nBBC Television shows\nBlack-and-white British television shows\nBritish live television series"
]
|
[
"Javier Saviola",
"Benfica",
"what is the benfica?",
"On 22 October 2009, Saviola scored two goals for Benfica, guiding them to a 5-0 victory over Everton for the UEFA Europa League",
"Did they win any other games?",
"On 6 December 2009, Saviola scored through a chip shot against Academica de Coimbra in a 4-0 home win.",
"Are there any other interesting aspects about this article?",
"S.L. Benfica and Real Madrid agreed on a EUR5 million deal that would see Saviola play in Portugal for the next three years, with an option for one more;",
"did he make any money playing?",
"I don't know.",
"How long did he play?",
"I don't know."
]
| C_198205535ab140bab5f5b655d7afb785_0 | was there any notable wins? | 6 | was there any notable wins for Javier Saviola ? | Javier Saviola | On 26 June 2009, S.L. Benfica and Real Madrid agreed on a EUR5 million deal that would see Saviola play in Portugal for the next three years, with an option for one more; a EUR30 million clause was added. He scored his first goal for the club on a penalty in a friendly match against FC Sion and, on 16 July, netted twice to send his team into the Guadiana Trophy finals. On 22 October 2009, Saviola scored two goals for Benfica, guiding them to a 5-0 victory over Everton for the UEFA Europa League (he would also score in the club's 2-0 win in Liverpool in the second match), adding another brace four days later in a 6-1 routing of C.D. Nacional for the Primeira Liga. On 6 December 2009, Saviola scored through a chip shot against Academica de Coimbra in a 4-0 home win. On 20 December he netted the game's only goal as Benfica defeated rivals FC Porto at home; during the victorious campaign, he formed a deadly offensive partnership with Paraguayan Oscar Cardozo, with the pair combining for more than 50 goals overall. On 3 January 2010, after receiving the Portuguese Liga Player of the Month award, Saviola scored another winning goal against Nacional, again being the game's only scorer in an away defeat of Rio Ave FC, netting in the 46th minute. He netted his 19th goal overall in a 3-1 home triumph against F.C. Pacos de Ferreira on 7 March, and Benfica were eventually crowned league champions after a five-year wait. CANNOTANSWER | on 16 July, netted twice to send his team into the Guadiana Trophy finals. | Javier Pedro Saviola Fernández (; born 11 December 1981) is an Argentine former professional footballer who played as a forward.
He represented both Barcelona and Real Madrid, also having notable spells with Benfica and Olympiacos, and was named as the youngest player on Pelé's FIFA 100 list of the 125 greatest living footballers in 2004. Due to his ancestry he also holds Spanish nationality since 2004, and he amassed La Liga totals of 196 games and 70 goals over the course of eight seasons; he started and finished his career at River Plate.
Saviola won league titles in Argentina, Spain, Portugal and Greece during his playing career, as well as a UEFA Cup. An Argentine international for seven years, he represented his country at the 2006 World Cup and the 2004 Copa América, where Argentina reached the final. He also won a gold medal at the 2004 Olympics in Athens.
Club career
River Plate
Nicknamed El Conejo (The Rabbit), Buenos Aires-born Saviola made his debut for Club Atlético River Plate at the age of 16, and went on to be a prolific goalscorer for the club.
He helped River to the 1999 Apertura and 2000 Clausura championships, and earned the 1999 South American Footballer of the Year award. Still only 18, he gained a reputation as a phenomenal prospect, and was even regarded as a potential heir to Diego Maradona, in particular after he broke the latter's 1978 record by becoming the youngest player to win the Golden Boot award.
Barcelona
In 2001, aged 19, Saviola moved abroad to play for FC Barcelona in a £15 million transfer. He obtained Spanish citizenship shortly after, thereby not being restricted by the Spanish league maximum on the number of non-European Union citizens allowed in each team; under coach Carles Rexach, he scored 17 goals in his first season, finishing joint-fourth top scorer in La Liga.
Saviola's second year at the Camp Nou did not start well, as he only scored two goals in the first half of the season. Radomir Antić became the new coach after Louis van Gaal was fired, and he went on to net 11 goals in the latter half of the campaign; Frank Rijkaard was subsequently appointed as new manager for 2003–04, and the player scored 14 times in the league alone, but was deemed surplus at the club as was longtime attacking partner Patrick Kluivert.
Saviola was sent on loan in the summer of 2004, moving to AS Monaco FC in Ligue 1. As he did not fit into Rijkaard's plans he was again loaned out the following year, this time to Sevilla FC who were seeking to replace Real Madrid-bound Júlio Baptista; with the Andalusians he won his first title in Europe, conquering the UEFA Cup — he also scored nine times in the league, good enough for fifth.
Saviola returned to Barcelona for 2006–07, playing in 18 league games, six as a starter, and netting five goals. He benefited greatly from injuries to teammates, most notably to Samuel Eto'o, and added five in as many matches in that season's Copa del Rey, notably a hat-trick against Deportivo Alavés (3–2 win at home, 5–2 aggregate).
Real Madrid
On 10 July 2007, Real Madrid signed Saviola after his Barcelona contract expired, on a three-year deal. Although on a financially lucrative contract, he endured a difficult time at Real, being mainly restricted to cup matches and sporadic appearances (mainly as a substitute) in the league and the UEFA Champions League.
The arrival of Klaas-Jan Huntelaar limited Saviola's opportunities even more, and he finished his Real Madrid spell with five goals in 28 overall appearances.
Benfica
On 26 June 2009, S.L. Benfica and Real Madrid agreed on a €5 million deal that would see Saviola play in Portugal for the next three years, with an option for one more; a €30 million clause was added. On 16 July, he scored two goals to send his team into the Guadiana Trophy finals after defeating Athletic Bilbao.
Saviola netted twice on 22 October 2009, guiding his side to a 5–0 victory over Everton for the UEFA Europa League (he would also score in their 2–0 win in Liverpool in the second match), adding another brace four days later in a 6–1 routing of C.D. Nacional for the Primeira Liga.
On 6 December 2009, Saviola scored through a chip shot against Académica de Coimbra in a 4–0 home win. On 20 December he netted the game's only goal as Benfica defeated rivals FC Porto at home; during the victorious campaign, he formed a deadly attacking partnership with Paraguayan Óscar Cardozo, with the pair combining for more than 50 goals overall.
On 3 January 2010, shortly before receiving the SJPF Player of the Month award, Saviola scored another winning goal against Nacional, now for the Taça da Liga, again being the game's only scorer in an away defeat of Rio Ave FC, netting in the 48th minute. He scored his 19th goal overall in a 3–1 home triumph against F.C. Paços de Ferreira on 7 March, and the Lisbon club was eventually crowned league champions
Málaga
In the last hours of the 2012–13 summer transfer window, Saviola agreed on a move to Málaga CF. He played 45 minutes in his first appearance, a 1–0 win at Real Zaragoza on 1 September.
On 15 September 2012, Saviola scored once and provided one assist in a 3−1 home win against Levante UD. He continued with his streak the following game, Málaga's first-ever in the Champions League group stage, netting in a 3–0 home win over FC Zenit Saint Petersburg.
Olympiacos
On 25 July 2013, Saviola signed a two-year contract with Greek champions Olympiacos FC. He scored his first goal in the Superleague on 25 August, coming on at half-time and helping his team come from behind to win 2–1 at home to Atromitos F.C. On 10 December he netted a brace – and also missed a penalty – in a 3–1 success over R.S.C. Anderlecht also at the Karaiskakis Stadium in the group stage's last round, which helped the Piraeus team finish second and qualify at the expense of former side Benfica.
Verona
On 2 September 2014, Saviola joined Serie A club Hellas Verona FC. He made his official debut on 22 September, starting in a 2–2 home draw against Genoa CFC, and scored his first goal on 2 December, netting the only in a home win over Perugia Calcio for the Coppa Italia. His sole goal of the league season came on 25 January 2015, the only one in a home victory over Atalanta BC.
Return to River
On 30 June 2015, River Plate announced that Saviola had returned to the club. He left in January of the following year, after failing to find the net in his second spell, and subsequently retired from professional football at the age of 34.
Retirement, coaching, and futsal career
Immediately after retiring, Saviola settled in Andorra with his family and was appointed assistant manager at FC Ordino in the Primera Divisió. In February 2018, he joined local futsal team Encamp. In April of that year, he won the principality's futsal league with the side.
International career
Saviola starred in the 2001 edition of the FIFA U-20 World Cup, held in Argentina. He was top scorer and was voted player of the tournament, as the national team won the competition; with 11 goals in seven games, he became the record goal-scorer in the tournament's history.
Two years later, Saviola played in the 2004 Olympic Games and won the gold medal. Under coach Marcelo Bielsa he was given few playing opportunities for the senior team but, after the former's resignation in 2004, new manager José Pékerman, who also worked with him at youth level, turned the tide in the player's favour; he was also a member of the squads that reached final of the 2004 Copa América and the 2005 FIFA Confederations Cup, netting three times in the former tournament and one in the latter.
Saviola was called up to represent Argentina at the 2006 World Cup – Luciano Figueroa and Luciano Galletti were also in contention for a place on the roster, but his excellent form for Sevilla secured his place in the squad. He scored against Ivory Coast in the country's opening game, and made two assists in the 6–0 victory over Serbia and Montenegro also in the group phase.
Saviola retired from international football on 5 December 2009, although not yet 28. He stated that he felt his career as an Argentina player had come to an end, and that he wanted to concentrate on club football.
Style of play
Saviola was known for his speed, agility, dribbling and ability to score from almost any attacking position on the field. A diminutive, talented, and prolific forward, with a slender build, he was capable of playing as a striker, in a more creative role as a second striker, or even in a playmaking role as an attacking midfielder. Throughout his career, Saviola was nicknamed El Conejo (The Rabbit, in Spanish), due to his appearance, and also El Pibito (The Little Kid, in Spanish), a reference to compatriot Diego Maradona, who was nicknamed El Pibe de Oro (The Golden Kid, in Spanish), and to whom Saviola was often compared in his youth.
Media
Saviola was sponsored by sportswear company Nike, and appeared in commercials for the brand. In a global advertising campaign in the run-up to the 2002 World Cup in Korea and Japan, he starred in a "Secret Tournament" commercial (branded "Scopion KO") directed by Terry Gilliam, appearing alongside footballers such as Luís Figo, Thierry Henry, Hidetoshi Nakata, Roberto Carlos, Ronaldinho, Ronaldo and Francesco Totti, with former player Eric Cantona the tournament "referee".
Career statistics
Club
International
Scores and results list Argentina's goal tally first, score column indicates score after each Saviola goal.
Honours
River Plate
Argentine Primera División: 1999 Apertura, 2000 Clausura
Copa Libertadores: 2015
Suruga Bank Championship: 2015
FIFA Club World Cup runner-up: 2015
Sevilla
UEFA Cup: 2005–06
Real Madrid
La Liga: 2007–08
Supercopa de España: 2008
Benfica
Primeira Liga: 2009–10
Taça da Liga: 2009–10, 2010–11, 2011–12
Supertaça Cândido de Oliveira runner-up: 2010
Olympiacos
Super League Greece: 2013–14
Argentina
FIFA U-20 World Cup: 2001
Summer Olympic Games: 2004
Copa América runner-up: 2004
FIFA Confederations Cup runner-up: 2005
Individual
Argentine Primera División: 1999 Apertura Top scorer
South American Footballer of the Year: 1999
South American Team of the Year: 1999
Player of the Year of Argentina: 1999
FIFA World Youth Championship: Golden Shoe 2001
FIFA World Youth Championship: Golden Ball 2001
Trofeo EFE: 2001–02
Primeira Liga: Player of the Month December 2009
Portuguese Golden Ball: 2010
FIFA 100
References
External links
1981 births
Living people
Footballers from Buenos Aires
Argentine footballers
Argentine men's futsal players
Association football forwards
Club Atlético River Plate footballers
FC Barcelona players
AS Monaco FC players
Sevilla FC players
UEFA Cup winning players
Real Madrid CF players
S.L. Benfica footballers
Málaga CF players
Olympiacos F.C. players
Hellas Verona F.C. players
FC Encamp players
Argentine Primera División players
La Liga players
Ligue 1 players
Primeira Liga players
Super League Greece players
Serie A players
Argentina under-20 international footballers
Olympic footballers of Argentina
Argentina international footballers
2004 Copa América players
Footballers at the 2004 Summer Olympics
2005 FIFA Confederations Cup players
2006 FIFA World Cup players
Medalists at the 2004 Summer Olympics
Olympic medalists in football
Olympic gold medalists for Argentina
South American Footballer of the Year winners
FIFA 100
Argentine expatriate footballers
Argentine expatriate sportspeople in Spain
Argentine expatriate sportspeople in Monaco
Argentine expatriate sportspeople in Portugal
Argentine expatriate sportspeople in Greece
Argentine expatriate sportspeople in Italy
Argentine expatriate sportspeople in Andorra
Expatriate footballers in Spain
Expatriate footballers in Monaco
Expatriate footballers in Portugal
Expatriate footballers in Greece
Expatriate footballers in Italy
Expatriate footballers in Andorra
Naturalised citizens of Spain | false | [
"Skyline was a notable Australian Thoroughbred racehorse who was the best three-year-old of his year. He was a bay or brown stallion foaled in 1955 by the champion sire Star Kingdom (IRE) from Flight’s Daughter by Helios (GB) from Flight by Royal Step. He was the elder brother of another notable performer Sky High.\n\nFollowing exceptional wins in the 1958 STC Golden Slipper Stakes, STC Hill Stakes and AJC Derby (in race record time of 2:28.8) his promising career was put on hold following a severe injury sustained in a stable accident.\n\nSkyline eventually recovered from the injury but was never the same horse failing to register another win.\n\nHe was retired to stud with the record of 5 wins from 32 starts, and from very limited opportunities and only a few foals, he sired, among others, Sky Sailor, winner of 11 races.\n\nReferences\n\n1955 racehorse births\nRacehorses trained in Australia\nRacehorses bred in Australia\nThoroughbred family 1-n",
"Duane D. Horsman (January 23, 1937 – July 1991), was a middleweight professional boxer from Minnesota.\n\nPersonal life\nHorsman was a native of Chatfield, Minnesota.\n\nProfessional career\nIn a career that spanned from 1959 to 1970, Duane Horsman amassed a record of 48 wins (34 by knockout) and 13 losses, with 2 draws. He began his career with 12 straight wins and was undefeated after 20 fights. Before his career was over he had fought such notable opponents as Clarence Cook, Sugar Boy Nando, Del Flanagan, Art Hernandez, Pat O'Connor.\n\nNotes\n\nTwo other notable fighters the Chatfield Chopper, professional middleweight boxer- Duane Horsman fought (recalling \"The Horse\" head on the back of his fighter's robe), were Ralph \"Tiger\" Jones, and Doug McCleod.\n\nExternal links\n\n1937 births\n1991 deaths\nPeople from Chatfield, Minnesota\nBoxers from Minnesota\nAmerican male boxers\nMiddleweight boxers"
]
|
[
"Javier Saviola",
"Benfica",
"what is the benfica?",
"On 22 October 2009, Saviola scored two goals for Benfica, guiding them to a 5-0 victory over Everton for the UEFA Europa League",
"Did they win any other games?",
"On 6 December 2009, Saviola scored through a chip shot against Academica de Coimbra in a 4-0 home win.",
"Are there any other interesting aspects about this article?",
"S.L. Benfica and Real Madrid agreed on a EUR5 million deal that would see Saviola play in Portugal for the next three years, with an option for one more;",
"did he make any money playing?",
"I don't know.",
"How long did he play?",
"I don't know.",
"was there any notable wins?",
"on 16 July, netted twice to send his team into the Guadiana Trophy finals."
]
| C_198205535ab140bab5f5b655d7afb785_0 | What were his notable losses? | 7 | What were Javier Saviols notable losses? | Javier Saviola | On 26 June 2009, S.L. Benfica and Real Madrid agreed on a EUR5 million deal that would see Saviola play in Portugal for the next three years, with an option for one more; a EUR30 million clause was added. He scored his first goal for the club on a penalty in a friendly match against FC Sion and, on 16 July, netted twice to send his team into the Guadiana Trophy finals. On 22 October 2009, Saviola scored two goals for Benfica, guiding them to a 5-0 victory over Everton for the UEFA Europa League (he would also score in the club's 2-0 win in Liverpool in the second match), adding another brace four days later in a 6-1 routing of C.D. Nacional for the Primeira Liga. On 6 December 2009, Saviola scored through a chip shot against Academica de Coimbra in a 4-0 home win. On 20 December he netted the game's only goal as Benfica defeated rivals FC Porto at home; during the victorious campaign, he formed a deadly offensive partnership with Paraguayan Oscar Cardozo, with the pair combining for more than 50 goals overall. On 3 January 2010, after receiving the Portuguese Liga Player of the Month award, Saviola scored another winning goal against Nacional, again being the game's only scorer in an away defeat of Rio Ave FC, netting in the 46th minute. He netted his 19th goal overall in a 3-1 home triumph against F.C. Pacos de Ferreira on 7 March, and Benfica were eventually crowned league champions after a five-year wait. CANNOTANSWER | CANNOTANSWER | Javier Pedro Saviola Fernández (; born 11 December 1981) is an Argentine former professional footballer who played as a forward.
He represented both Barcelona and Real Madrid, also having notable spells with Benfica and Olympiacos, and was named as the youngest player on Pelé's FIFA 100 list of the 125 greatest living footballers in 2004. Due to his ancestry he also holds Spanish nationality since 2004, and he amassed La Liga totals of 196 games and 70 goals over the course of eight seasons; he started and finished his career at River Plate.
Saviola won league titles in Argentina, Spain, Portugal and Greece during his playing career, as well as a UEFA Cup. An Argentine international for seven years, he represented his country at the 2006 World Cup and the 2004 Copa América, where Argentina reached the final. He also won a gold medal at the 2004 Olympics in Athens.
Club career
River Plate
Nicknamed El Conejo (The Rabbit), Buenos Aires-born Saviola made his debut for Club Atlético River Plate at the age of 16, and went on to be a prolific goalscorer for the club.
He helped River to the 1999 Apertura and 2000 Clausura championships, and earned the 1999 South American Footballer of the Year award. Still only 18, he gained a reputation as a phenomenal prospect, and was even regarded as a potential heir to Diego Maradona, in particular after he broke the latter's 1978 record by becoming the youngest player to win the Golden Boot award.
Barcelona
In 2001, aged 19, Saviola moved abroad to play for FC Barcelona in a £15 million transfer. He obtained Spanish citizenship shortly after, thereby not being restricted by the Spanish league maximum on the number of non-European Union citizens allowed in each team; under coach Carles Rexach, he scored 17 goals in his first season, finishing joint-fourth top scorer in La Liga.
Saviola's second year at the Camp Nou did not start well, as he only scored two goals in the first half of the season. Radomir Antić became the new coach after Louis van Gaal was fired, and he went on to net 11 goals in the latter half of the campaign; Frank Rijkaard was subsequently appointed as new manager for 2003–04, and the player scored 14 times in the league alone, but was deemed surplus at the club as was longtime attacking partner Patrick Kluivert.
Saviola was sent on loan in the summer of 2004, moving to AS Monaco FC in Ligue 1. As he did not fit into Rijkaard's plans he was again loaned out the following year, this time to Sevilla FC who were seeking to replace Real Madrid-bound Júlio Baptista; with the Andalusians he won his first title in Europe, conquering the UEFA Cup — he also scored nine times in the league, good enough for fifth.
Saviola returned to Barcelona for 2006–07, playing in 18 league games, six as a starter, and netting five goals. He benefited greatly from injuries to teammates, most notably to Samuel Eto'o, and added five in as many matches in that season's Copa del Rey, notably a hat-trick against Deportivo Alavés (3–2 win at home, 5–2 aggregate).
Real Madrid
On 10 July 2007, Real Madrid signed Saviola after his Barcelona contract expired, on a three-year deal. Although on a financially lucrative contract, he endured a difficult time at Real, being mainly restricted to cup matches and sporadic appearances (mainly as a substitute) in the league and the UEFA Champions League.
The arrival of Klaas-Jan Huntelaar limited Saviola's opportunities even more, and he finished his Real Madrid spell with five goals in 28 overall appearances.
Benfica
On 26 June 2009, S.L. Benfica and Real Madrid agreed on a €5 million deal that would see Saviola play in Portugal for the next three years, with an option for one more; a €30 million clause was added. On 16 July, he scored two goals to send his team into the Guadiana Trophy finals after defeating Athletic Bilbao.
Saviola netted twice on 22 October 2009, guiding his side to a 5–0 victory over Everton for the UEFA Europa League (he would also score in their 2–0 win in Liverpool in the second match), adding another brace four days later in a 6–1 routing of C.D. Nacional for the Primeira Liga.
On 6 December 2009, Saviola scored through a chip shot against Académica de Coimbra in a 4–0 home win. On 20 December he netted the game's only goal as Benfica defeated rivals FC Porto at home; during the victorious campaign, he formed a deadly attacking partnership with Paraguayan Óscar Cardozo, with the pair combining for more than 50 goals overall.
On 3 January 2010, shortly before receiving the SJPF Player of the Month award, Saviola scored another winning goal against Nacional, now for the Taça da Liga, again being the game's only scorer in an away defeat of Rio Ave FC, netting in the 48th minute. He scored his 19th goal overall in a 3–1 home triumph against F.C. Paços de Ferreira on 7 March, and the Lisbon club was eventually crowned league champions
Málaga
In the last hours of the 2012–13 summer transfer window, Saviola agreed on a move to Málaga CF. He played 45 minutes in his first appearance, a 1–0 win at Real Zaragoza on 1 September.
On 15 September 2012, Saviola scored once and provided one assist in a 3−1 home win against Levante UD. He continued with his streak the following game, Málaga's first-ever in the Champions League group stage, netting in a 3–0 home win over FC Zenit Saint Petersburg.
Olympiacos
On 25 July 2013, Saviola signed a two-year contract with Greek champions Olympiacos FC. He scored his first goal in the Superleague on 25 August, coming on at half-time and helping his team come from behind to win 2–1 at home to Atromitos F.C. On 10 December he netted a brace – and also missed a penalty – in a 3–1 success over R.S.C. Anderlecht also at the Karaiskakis Stadium in the group stage's last round, which helped the Piraeus team finish second and qualify at the expense of former side Benfica.
Verona
On 2 September 2014, Saviola joined Serie A club Hellas Verona FC. He made his official debut on 22 September, starting in a 2–2 home draw against Genoa CFC, and scored his first goal on 2 December, netting the only in a home win over Perugia Calcio for the Coppa Italia. His sole goal of the league season came on 25 January 2015, the only one in a home victory over Atalanta BC.
Return to River
On 30 June 2015, River Plate announced that Saviola had returned to the club. He left in January of the following year, after failing to find the net in his second spell, and subsequently retired from professional football at the age of 34.
Retirement, coaching, and futsal career
Immediately after retiring, Saviola settled in Andorra with his family and was appointed assistant manager at FC Ordino in the Primera Divisió. In February 2018, he joined local futsal team Encamp. In April of that year, he won the principality's futsal league with the side.
International career
Saviola starred in the 2001 edition of the FIFA U-20 World Cup, held in Argentina. He was top scorer and was voted player of the tournament, as the national team won the competition; with 11 goals in seven games, he became the record goal-scorer in the tournament's history.
Two years later, Saviola played in the 2004 Olympic Games and won the gold medal. Under coach Marcelo Bielsa he was given few playing opportunities for the senior team but, after the former's resignation in 2004, new manager José Pékerman, who also worked with him at youth level, turned the tide in the player's favour; he was also a member of the squads that reached final of the 2004 Copa América and the 2005 FIFA Confederations Cup, netting three times in the former tournament and one in the latter.
Saviola was called up to represent Argentina at the 2006 World Cup – Luciano Figueroa and Luciano Galletti were also in contention for a place on the roster, but his excellent form for Sevilla secured his place in the squad. He scored against Ivory Coast in the country's opening game, and made two assists in the 6–0 victory over Serbia and Montenegro also in the group phase.
Saviola retired from international football on 5 December 2009, although not yet 28. He stated that he felt his career as an Argentina player had come to an end, and that he wanted to concentrate on club football.
Style of play
Saviola was known for his speed, agility, dribbling and ability to score from almost any attacking position on the field. A diminutive, talented, and prolific forward, with a slender build, he was capable of playing as a striker, in a more creative role as a second striker, or even in a playmaking role as an attacking midfielder. Throughout his career, Saviola was nicknamed El Conejo (The Rabbit, in Spanish), due to his appearance, and also El Pibito (The Little Kid, in Spanish), a reference to compatriot Diego Maradona, who was nicknamed El Pibe de Oro (The Golden Kid, in Spanish), and to whom Saviola was often compared in his youth.
Media
Saviola was sponsored by sportswear company Nike, and appeared in commercials for the brand. In a global advertising campaign in the run-up to the 2002 World Cup in Korea and Japan, he starred in a "Secret Tournament" commercial (branded "Scopion KO") directed by Terry Gilliam, appearing alongside footballers such as Luís Figo, Thierry Henry, Hidetoshi Nakata, Roberto Carlos, Ronaldinho, Ronaldo and Francesco Totti, with former player Eric Cantona the tournament "referee".
Career statistics
Club
International
Scores and results list Argentina's goal tally first, score column indicates score after each Saviola goal.
Honours
River Plate
Argentine Primera División: 1999 Apertura, 2000 Clausura
Copa Libertadores: 2015
Suruga Bank Championship: 2015
FIFA Club World Cup runner-up: 2015
Sevilla
UEFA Cup: 2005–06
Real Madrid
La Liga: 2007–08
Supercopa de España: 2008
Benfica
Primeira Liga: 2009–10
Taça da Liga: 2009–10, 2010–11, 2011–12
Supertaça Cândido de Oliveira runner-up: 2010
Olympiacos
Super League Greece: 2013–14
Argentina
FIFA U-20 World Cup: 2001
Summer Olympic Games: 2004
Copa América runner-up: 2004
FIFA Confederations Cup runner-up: 2005
Individual
Argentine Primera División: 1999 Apertura Top scorer
South American Footballer of the Year: 1999
South American Team of the Year: 1999
Player of the Year of Argentina: 1999
FIFA World Youth Championship: Golden Shoe 2001
FIFA World Youth Championship: Golden Ball 2001
Trofeo EFE: 2001–02
Primeira Liga: Player of the Month December 2009
Portuguese Golden Ball: 2010
FIFA 100
References
External links
1981 births
Living people
Footballers from Buenos Aires
Argentine footballers
Argentine men's futsal players
Association football forwards
Club Atlético River Plate footballers
FC Barcelona players
AS Monaco FC players
Sevilla FC players
UEFA Cup winning players
Real Madrid CF players
S.L. Benfica footballers
Málaga CF players
Olympiacos F.C. players
Hellas Verona F.C. players
FC Encamp players
Argentine Primera División players
La Liga players
Ligue 1 players
Primeira Liga players
Super League Greece players
Serie A players
Argentina under-20 international footballers
Olympic footballers of Argentina
Argentina international footballers
2004 Copa América players
Footballers at the 2004 Summer Olympics
2005 FIFA Confederations Cup players
2006 FIFA World Cup players
Medalists at the 2004 Summer Olympics
Olympic medalists in football
Olympic gold medalists for Argentina
South American Footballer of the Year winners
FIFA 100
Argentine expatriate footballers
Argentine expatriate sportspeople in Spain
Argentine expatriate sportspeople in Monaco
Argentine expatriate sportspeople in Portugal
Argentine expatriate sportspeople in Greece
Argentine expatriate sportspeople in Italy
Argentine expatriate sportspeople in Andorra
Expatriate footballers in Spain
Expatriate footballers in Monaco
Expatriate footballers in Portugal
Expatriate footballers in Greece
Expatriate footballers in Italy
Expatriate footballers in Andorra
Naturalised citizens of Spain | false | [
"The 1911 Philadelphia Phillies season was a season in Major League Baseball. The Phillies finished fourth in the National League with a record of 79 wins and 73 losses.\n\nOffseason\n\nCity Series \nPhillies Hall of Fame pitcher Grover Cleveland Alexander made his Philadelphia debut during the pre-season City Series against the Philadelphia Athletics. Alexander pitched five innings of no-hit no-run baseball against the A's. He would make his official major league debut on April 15, 1911.\n\nNotable transactions \n November 12, 1910: Johnny Bates, Eddie Grant, George McQuillan and Lew Moren were traded by the Phillies to the Cincinnati Reds for Jack Rowan, Fred Beebe, Hans Lobert and Dode Paskert.\n\nRegular season\n\nSeason standings\n\nRecord vs. opponents\n\nNotable transactions \n August 18, 1911: Jack Rowan was traded by the Phillies to the Chicago Cubs for Cliff Curtis.\n September 11, 1911: Red Kleinow was released by the Phillies.\n\nRoster\n\nPlayer stats\n\nBatting\n\nStarters by position \nNote: Pos = Position; G = Games played; AB = At bats; H = Hits; Avg. = Batting average; HR = Home runs; RBI = Runs batted in\n\nOther batters \nNote: G = Games played; AB = At bats; H = Hits; Avg. = Batting average; HR = Home runs; RBI = Runs batted in\n\nPitching\n\nStarting pitchers \nNote: G = Games pitched; IP = Innings pitched; W = Wins; L = Losses; ERA = Earned run average; SO = Strikeouts\n\nOther pitchers \nNote: G = Games pitched; IP = Innings pitched; W = Wins; L = Losses; ERA = Earned run average; SO = Strikeouts\n\nRelief pitchers \nNote: G = Games pitched; W = Wins; L = Losses; SV = Saves; ERA = Earned run average; SO = Strikeouts\n\nNotes\n\nReferences \n\n1911 Philadelphia Phillies season at Baseball Reference\n\nPhiladelphia Phillies seasons\nPhiladelphia Phillies season\nPhiladelphia Phillies",
"The 1927 New York Giants season was the franchise's 45th season. The team finished third in the National League with a record of 92–62, 2 games behind the Pittsburgh Pirates.\n\nOffseason \nDuring the offseason, the Giants acquired Rogers Hornsby from the St. Louis Cardinals for Frankie Frisch and Jimmy Ring. Hornsby's offensive numbers rebounded in 1927, as he hit .361 and led the league in runs scored (133), walks (86), and an on-base percentage (.448). The deal was held up because Hornsby, as part of his contract as the manager of the Cardinals (he was a player-manager at the time), owned several shares of stock in the Cardinals. Cardinals owner Sam Breadon offered Hornsby a sum for the stock considerably lower than what Hornsby demanded for it, and neither would budge. Eventually, the other owners of the National League made up the difference, and the trade went through.\n\nNotable transactions \n December 20, 1926: Frankie Frisch and Jimmy Ring were traded by the Giants to the St. Louis Cardinals for Rogers Hornsby.\n\nRegular season\n\nSeason standings\n\nRecord vs. opponents\n\nNotable transactions \n May 9, 1927: Don Songer was purchased by the Giants from the Pittsburgh Pirates.\n\nRoster\n\nPlayer stats\n\nBatting\n\nStarters by position \nNote: Pos = Position; G = Games played; AB = At bats; H = Hits; Avg. = Batting average; HR = Home runs; RBI = Runs batted in\n\nOther batters \nNote: G = Games played; AB = At bats; H = Hits; Avg. = Batting average; HR = Home runs; RBI = Runs batted in\n\nPitching\n\nStarting pitchers \nNote: G = Games pitched; IP = Innings pitched; W = Wins; L = Losses; ERA = Earned run average; SO = Strikeouts\n\nOther pitchers \nNote: G = Games pitched; IP = Innings pitched; W = Wins; L = Losses; ERA = Earned run average; SO = Strikeouts\n\nRelief pitchers \nNote: G = Games pitched; W = Wins; L = Losses; SV = Saves; ERA = Earned run average; SO = Strikeouts\n\nNotes\n\nReferences \n1927 New York Giants season at Baseball Reference\n\nNew York Giants (NL)\nSan Francisco Giants seasons\nNew York Giants season\nNew York\n20th century in Manhattan\nWashington Heights, Manhattan"
]
|
[
"Tarja Turunen",
"Reception and legacy"
]
| C_e281527c954c4b71a70ba6465451662d_0 | What can you tell me about her legacy? | 1 | What can you tell me about Tarja Turunen's legacy? | Tarja Turunen | Turunen's voice is described by critics as remarkably powerful and emotional. Sometimes it is stated that her voice is too trained or operatic for metal music, but even critics who do not like classical voices admit that her voice suits the kind of metal songs she sings unusually well. Until the end of their collaboration, Turunen's singing was a trademark of Nightwish. She was known as the face and voice of Nightwish while bandleader Holopainen was the soul. Turunen was seen as a key to Nightwish's success. She is respected by other musicians of the metal genre and is an influence on their work; for instance, Simone Simons of Epica names her as her inspiration to study classical music and apply that vocal style to a metal band. Turunen receives most of her media attention in Europe, especially in her home of Finland. In December 2003, she was invited by Finnish president Tarja Halonen to celebrate the Finnish Independence Day at the Presidential Palace together with other Finnish celebrities. The event is televised annually live by the state-owned broadcaster, the Finnish Broadcasting Company. In December 2007, she performed different versions of the Finnish national anthem "Maamme" (Finnish: "Our country") accompanied by the Tapiola Sinfonietta, to celebrate the 90th anniversary of Finnish independence. The concert was televised by the Finnish Broadcasting Company for 2 million Finnish viewers. In December 2013, Turunen was the invited soloist at the Christmas Peace event in the Turku Cathedral, Finland, with the presence of Finnish president Sauli Niinisto. The concert aired on Yle TV1 at the Christmas Eve. During her solo career, Turunen has sold over 100,000 certified records in Finland, which places her among the top 50 of best-selling female soloists. In Europe, her popularity is mainly limited to the hard rock and metal scene. She had a broader exposure on November 30, 2007, when she was invited to open the farewell fight of Regina Halmich. Her performance of "I Walk Alone" was televised live by the German television station ZDF for 8.8 million viewers. Turunen will be one of the star coaches in the fourth season of The Voice of Finland in the spring of 2015 on Nelonen. After the success of the 2015 edition of The Voice of Finland, Tarja was again chosen to be one of the star coaches for the 2016 edition. CANNOTANSWER | Turunen's voice is described by critics as remarkably powerful and emotional. Sometimes it is stated that her voice is too trained or operatic for metal music, | Tarja Soile Susanna Turunen-Cabuli (born 17 August 1977), known professionally as Tarja Turunen or simply Tarja, is a Finnish heavy metal singer-songwriter. She is a soprano with a three and a half octave range.
Turunen studied singing at Sibelius Academy and Hochschule für Musik Karlsruhe. She is a professional classical lied singer, and the former lead vocalist of the Finnish symphonic metal band Nightwish, which she founded with Tuomas Holopainen and Emppu Vuorinen in 1996. Their combination of hard and fast guitar riffs with Turunen's dramatic, "operatic" lead vocals quickly achieved critical and commercial popularity. Their symphonic metal style, soon dubbed "opera metal", inspired many other metal bands and performers.
Turunen was dismissed from the band on 21 October 2005 (just after the performance of the band's End of an Era concert) for personal reasons. She started her solo career in 2006 with the release of a Christmas album called Henkäys ikuisuudesta. In 2007, Turunen released My Winter Storm, an album featuring various styles including symphonic metal, and started the Storm World Tour. She performed several concerts in Europe, playing in metal festivals including the Graspop Metal Meeting and the Wacken Open Air, before releasing her third album, What Lies Beneath, supported by a tour, which lasted until April 2012. Her first live DVD Act I was filmed during this tour on 30 and 31 March 2012 in Rosario, Argentina. Act I was released in August 2012. Turunen started the Colours in the Dark World Tour in October 2013 to promote her new album Colours in the Dark. Her second live DVD was filmed during the events of Beauty and the Beat and was released in May.
In September 2015, Tarja Turunen released her first classical studio album, Ave Maria – En Plein Air. In August 2016 she released The Shadow Self with a prequel EP The Brightest Void released on 3 June. Her latest album In the Raw, was released on 30 August 2019.
Life and career
1977–1995: Early life
Tarja Turunen was born in the small village of Puhos, near Kitee, Finland. She has an older brother, Timo, and a younger brother, Toni. Her mother Ritva Sisko Marjatta (Hakkarainen) worked in the town administration, and her father Teuvo Turunen is a carpenter. Her talent for music was first noted when she sang the song "Enkeli taivaan" (the Finnish version of "From Heaven Above to Earth I Come") in the Kitee church hall at age three. She joined the church choir and started taking vocal lessons. At age six, she started playing piano.
At comprehensive school, Turunen performed as a singer for several projects. Her first piano teacher Kirsti Nortia-Holopainen, "Tarja was in a school that had some very musical people. Even then she got to perform a lot. I think she sang in every school function there was." Her music teacher, Plamen Dimov, later explained that, "If you gave Tarja just one note, she immediately got it. With the others, you'd have to practice three, four, five times". At school she had a tough time, since some girls bullied her because they envied her voice. To solve that problem, Dimov organized projects outside school. At fifteen, Turunen had her first major appearance as a soloist at a church concert in front of a thousand listeners. In 1993 she attended the Senior Secondary School of Art and Music in Savonlinna.
For several years Turunen performed various songs including soul music by Whitney Houston and Aretha Franklin. Later she listened to songs from the classical crossover singer Sarah Brightman, especially the song "The Phantom of the Opera", and decided to focus on that genre of music. At eighteen, she moved to Kuopio to study at the Sibelius Academy.
1996–2005: Nightwish
In December 1996, former classmate Tuomas Holopainen invited Turunen to join his new acoustic mood music project, and she immediately agreed. At the recording session for the first demo Holopainen discovered that due to her classical singing lessons, Turunen's voice had become much more powerful than he recalled from their school days. At the following band practices, Emppu Vuorinen used an electric guitar instead of an acoustic guitar because he felt that it gave a better accompaniment to her voice. Holopainen later explained that the band members had gradually realised that Turunen's voice had become too dramatic for acoustic mood music and eventually came to the conclusion that the music had to be massive too. Hence Holopainen decided to form Nightwish as a metal band.
Nightwish recorded a second demo with "more bombastic, dramatic" songs in September 1997. Holopainen used this material to convince the Finnish label Spinefarm Records to publish the band's debut album, Angels Fall First. The success of the first album came as a surprise to the label. As the album hit the top 40 of the Finnish charts, Nightwish started their tour The First Tour of the Angels. That same year, Turunen performed at the Savonlinna Opera Festival for the first time, singing songs from Wagner and Verdi.
Due to her commitment to the band, Turunen was not able to concentrate sufficiently on her schoolwork and her academic studies were interrupted. In 1998, Nightwish published their second album, Oceanborn. This album lacked the earlier elements of folk and ambient music, and instead focused on fast, melodic keyboard and guitar lines and Turunen's dramatic voice. In addition to the Oceanborn Europe Tour (1999), Turunen sang solo in Waltari's rock-themed ballet Evankeliumi (also known as Evangelicum) in several sold-out performances at the Finnish National Opera. In 2000 and 2001, Nightwish recorded Wishmaster and Over the Hills and Far Away and toured Europe and South America (the Wishmaster World Tour). During the Wishmaster World Tour, Turunen met Argentine businessman Marcelo Cabuli whom she married in 2003.
Turunen enrolled in 2000 at the German music university Hochschule für Musik Karlsruhe to gain a professional qualification as a soloist with further specialization in art song. In addition to the good reputation of the university, Turunen chose to go to Karlsruhe because some people at the Finnish university did not take her seriously as a classical singer due to her commitment in a metal band. While there, she recorded vocals for Nightwish's 2002 album Century Child and for Beto Vázquez Infinity. As with the other albums, Holopainen wrote the pieces and sent Turunen the lyrics and a demo recording of the prerecorded instrumental tracks by mail. Using the demo, Turunen designed her vocal lines and the choral passages.
In 2002, Turunen toured South America, performing in the classical Lied concert Noche Escandinava (Scandinavian Night) to sold-out houses. Following this and an exhausting world tour in support of Century Child (the World Tour of the Century), Nightwish took a hiatus and Turunen returned to Karlsruhe to finish her studies. After the hiatus Nightwish recorded the album Once; it was released in May 2004. The album has sold platinum in Finland and Germany and was the best selling album in all of Europe in July 2004. The band performed in the supporting Once Upon a Tour throughout 2004 and 2005.
For Christmas 2004, Turunen released her first solo single, titled "Yhden enkelin unelma" (One Angel's Dream), which sold gold in her native country of Finland. At Christmas 2005 it made a reentry at position one in the Finnish Charts. In spring 2005 she prepared the duet "Leaving You for Me", a collaboration with Martin Kesici, accompanied by a video.
2005: Breakup
The first change in the line up of Nightwish was in September 2001, when bassist Sami Vänskä was fired because Holopainen was no longer able to continue working with him. In the following years the relationship between Holopainen and Turunen's husband and manager Marcelo Cabuli deteriorated. This affected the relationship between Holopainen and Turunen as well. At a band meeting after the concert in Oberhausen in December 2004 Turunen informed the band members that she wanted to leave the band, but agreed to record one more album and to participate in the subsequent tour, planned for 2006/2007. According to her husband, Turunen had further agreed not to make her decision public and to release her first solo album after the new studio album from Nightwish. After the last concert of the Once Upon a Tour on 21 October 2005 (which was released on video as End of an Era), Holopainen and the other band members informed Turunen in an open letter that the band did not want to work with her any more, accusing her of diva-like behaviour and greed:
The split and, due to the open letter's allegations, Turunen's character became the subject of close media coverage. Turunen responded through an open letter on her website and through some interviews in which she explained her view. She was upset that after nine years of working together, Holopainen announced the separation via an open letter. Because of the continuing media interest, Marcelo Cabuli posted a message addressing the situation on the website in February 2006. He asked that anyone who had questions should email him. In June 2006, Cabuli posted a lengthy reply to many of the questions he had received. He answered questions related to the greed accusation by explaining that the band had agreed on the distribution of earnings in a contract at the formation of Nightwish. Based on that contract, every band member got a fixed share of 20% of the band's income. Marcelo Cabuli stated that, unlike others, Turunen had never fought for additional songwriter royalties.
Despite the circumstances of the separation, Holopainen's appreciation of Turunen as an artist remained. He explained that he did not search for a similarly trained singer as a successor for Turunen because he considers her to be extraordinarily good in her genre and therefore irreplaceable. Turunen said in an interview that she is very proud of her career with Nightwish. She considers the remaining band members extremely talented and wishes all the best for them and their subsequent lead singer Anette Olzon.
2005–present: Independent career
At the end of 2005, Turunen performed several classical concerts in Finland, Germany, Spain, and Romania. Since she expected to participate in another Nightwish album, several concerts and the release of her Christmas album Henkäys ikuisuudesta (officially translated as Breath from Heaven) were the only activities scheduled for 2006. Turunen again played at the Savonlinna Opera Festival in July 2006, this time as the main act; she sang alongside Finnish tenor Raimo Sirkiä, supported by the Kuopio Symphonic Orchestra. Turunen performed classical arias like "O mio babbino caro" by Puccini, "Libiamo ne' lieti calici" by Verdi and some songs from Andrew Lloyd Webber—"Don't Cry for Me Argentina" and "Phantom of the Opera"—among other songs. In November she performed at the charity concert "Tomorrow's Child" with the Tapiola Choir as a benefit for the UNICEF Children's Fund. On 6 December 2006, Turunen performed a big concert at the Sibelius Hall in Lahti, Finland; it was broadcast live by the Finnish channel YLE TV2 for 450,000 viewers. She was nominated for the Finnish Emma Award as Best Soloist of 2006. The following year, Turunen recorded vocals for the track "In the Picture" on the Nuclear Blast All-stars album Into the Light.
In August 2006 she started to work on her next solo album, My Winter Storm, the beginning of her main solo project. It was the first time that Turunen had written songs. She was supported by some professional songwriters. The choir and orchestral arrangements were written by film music composer James Dooley. Turunen released My Winter Storm, an album featuring various styles, including symphonic metal with classical "operatic" lead vocals, in November 2007. The album took the number one spot on the Finnish charts, and went platinum in Finland double platinum in Russia and gold in Germany.
She was nominated for an Echo as best newcomer and an Emma for best Finnish artist. On 25 November 2007, Turunen embarked on the Storm World Tour to promote My Winter Storm. She performed 95 concerts throughout Europe, North and South America and ended the tour in October 2009 at the O2 Academy Islington in London. In December 2008, the EP The Seer was released in the UK and the new extended edition of My Winter Storm released in January 2009.
She also contributed three songs to the Finnish charity Christmas album Maailman kauneimmat joululaulut (Finnish for "The World's Most Beautiful Christmas Songs") released in November 2009. In December 2009 she recorded her vocal part for the song "The Good Die Young", a duet with Klaus Meine which is included on the final Scorpions album Sting in the Tail.
Turunen recorded her third album, What Lies Beneath, in 2009 and 2010; it was released in September 2010. The album combined metal with classical "operatic" elements in an out of the box approach. She started the What Lies Beneath World Tour performing in several festivals, including the Wacken Open Air and the Graspop Metal Meeting, with special concerts at Miskolc Opera Festival and at the Masters of Rock, when she performed accompanied by a full orchestra. The tour is scheduled to last until April 2012. Also in 2010 she supported Alice Cooper on the German leg of his Theatre of Death Tour. On 17 July 2011, she sang again at the Savonlinna Opera Festival along with José Cura and accompanied by the Kuopio Symphony Orchestra.
In March 2012, Turunen won the title "Europe's best crossover performer" with over 100,000 votes.
In May 2013, Turunen announced the title of her 4th solo album, Colours in the Dark, which was released on 30 August. On 31 May the song "Never Enough" was released as a teaser. Later this year, in September, it was revealed that Turunen would appear as guest vocalist on the title track and video of Within Temptation's EP Paradise, released on 27 September.
In January 2014, Turunen revealed through her blog that she would soon return to the studio and record vocals for a couple of songs for her Outlanders project together with Torsten Stenzel & Walter Giardino.
In May 2014, it was released the DVD Beauty and the Beat, providing live footage from 3 concerts as part of the Beauty and the Beat World Tour. The DVD shows Tarja performing live with a symphonic orchestra, choir and Mike Terrana on drums. Songs include Antonín Dvořák's "Song to the Moon" from Rusalka and Led Zeppelin's "Kashmir", and also a live version of the rarely performed song "Swanheart" from the 1998 Nightwish album Oceanborn. On the same year, in July, Left in the Dark was released as an EP containing alternative versions from Tarja's album Colours in the Dark, as well as a studio version of "Into the Sun".
On 17 October 2015, Tarja performed two new songs from her forthcoming album, "No Bitter End" and "Goldfinger", which is a cover of the title song of the James Bond film with the same name.
Tarja announced she is to release a new album in the summer of 2016. She explains that "she has been working hard once again with Tim Palmer to create the heaviest sound so far of her career for her fourth rock album". She also explained that the album will follow in the same footsteps as her other albums but with a new soul and growth. A teaser with a snippet of two songs was then released on her official YouTube channel. On 17 February 2016, Tarja also revealed the first letter of the album name to be T. On March 14, 2016, Tarja made public title and cover of her new album, The Shadow Self.
On April 7, Tarja announced the release, scheduled for June 3, of The Brightest Void, the "prequel" of The Shadow Self; The Brightest Void contains the song "No Bitter End", also included in The Shadow Self, the duet with Within Temptation "Paradise (What About Us?)" and several covers.
The Shadow Self was released on August 5, 2016. The lead single was the track "Innocence".
On November 17, 2017, Tarja released From Spirits and Ghosts (Score for a Dark Christmas), her second classical and Christmas album. With the album release comes also Tarja Turunen's first graphic novel, From Spirits and Ghosts (Novel for a Dark Christmas). The 40-page novel is about the world of dark Christmas scripted by Peter Rogers with accompanying art by Conor Boyle.
On July 27, 2018, Tarja released Act II, a live album and DVD recorded during the concert on November 29, 2016, at the Teatro della Luna in Milan, during the world tour The Shadow Shows.
On 30 August 2019, Tarja released In the Raw. For this album Tarja Turunen joined forces with other Heavy Metal vocalists such as Björn Strid, Tommy Karevik, and Cristina Scabbia, thus including in the album vocal collaborations with them.
On 19 June 2021, Tarja annouced the release of a book in October 2021, Singing in My Blood in which the book would share the story of her life in music.
At the end of 2021, Tarja launched the ten-year project called Outlanders which combines her vocals with electronic beats, and featuring guest artists such as Yes guitarist Trevor Rabin and jazz guitarist Al Di Meola.
Singing style
Development
Along with visiting the music school in Savonlinna, Turunen began serious classical vocal training at 17. After school, she began studying music (with a specialization in church music) at the Sibelius Academy. Due to her commitment with Nightwish, she had to interrupt her academic studies.
From 2001 to 2003, she studied at the music academy Hochschule für Musik Karlsruhe, where she trained as a soloist with further specialization in art songs. Turunen originally applied to train as a choir singer. At the audition she attracted the attention of professor Mitsuko Shirai, who encouraged Turunen to apply for soloist training.
As a classical singer, Turunen sings with classical vocal technique. She explained that in the early days of Nightwish, it was difficult to combine classical technique with the metal sound in a way that gave her liberty of action without damaging her vocal cords. Classical techniques helped her to play with her voice, so she decided not to pursue extra training in rock/pop singing.
Towards the turn of the millennium, the combination of hard and fast guitar riffs with classical female lead vocals attracted a great deal of attention in the metal scene. The new music style of Nightwish quickly achieved critical and commercial popularity; this symphonic metal style was soon dubbed "opera metal". Turunen does not see herself as an opera singer. She has sung excerpts from operas at the Savonlinna Opera Festival, but she stresses that singing opera cannot be performed as a side project. She would need special training to perfectly sing an entire opera without a microphone.
When asked how the association between the opera and metal genres may have arisen, Turunen said that despite the obvious differences, the two music styles have some similarities:
From the first Nightwish album Angels Fall First (1997) on, critics described Turunen's vocals using adjectives such as angelic or valkyrian. The Valkyrie image was later fostered by the second video for the single "Sleeping Sun" in which Turunen walks on a battlefield as if she were guiding the dead warriors.
On the following albums the singing was technically more complex. On the Nightwish album Oceanborn (1998), her classical vocal training was much more noticeable. For the song "Passion and the Opera", Turunen performed a staccato coloratura reminiscent of the aria "Hell's vengeance boils in my heart", sung by the soprano role Queen of the Night in Mozart's opera The Magic Flute. "Sleeping Sun" required a well-trained breathing technique. Turunen explained in an interview that when they recorded Oceanborn, she had serious doubts, fearing that she was not yet advanced enough in her studies to have mastered the required techniques.
A challenge of a different kind was the cover version of Gary Moore's "Over the Hills and Far Away" (2001), as it required a deeper voice, far below the vocal range of an average soprano. In an interview with Breakout magazine, she reported that in the studio, the band members were shaken by a paroxysm of laughter as she tried to warm up for the vocal lines. As a side benefit of her efforts, Turunen gradually expanded her vocal range considerably into the lower range, which manifested even more on the following albums.
For the album Century Child (2002), she experimented with a more "rock" sounding voice, where she maintained the classical singing technique, but, for example, sang with less vibrato. Turunen was not satisfied that she had successfully transitioned to this new style until the album Once (2004).
This deeper "rock"-sounding voice on Once—as well as on the song "In the Picture" of the album Into the Light—was welcomed by critics as a refreshing change.
Her first solo album My Winter Storm (2007) contains rock and metal songs as well as songs that resemble classical songs. Turunen uses both her classical singing voice and a rock-sounding voice. In many songs she starts with a rock voice, and then switches for widely arching melodies into a distinctly classical singing voice.
In an interview, she explained that My Winter Storm was the first album where she had the chance to use her full vocal range.
In the album Colours in the Dark she used her speaking voice for the first time in many years.
Register
Turunen's voice type is soprano. Over the course of her career, Turunen has developed a vocal range of three octaves.
Her range is apparent on her album My Winter Storm, where the lowest note sung is F3 in the song "The Seer", while in another song, she aimed for D6.
Reception and legacy
Turunen's voice is described by critics as remarkably powerful and emotional. Sometimes it is stated that her voice is too trained or operatic for metal music, but even critics who do not like classical voices admit that her voice suits the kind of metal songs she sings unusually well.
Until the end of their collaboration, Turunen's singing was a trademark of Nightwish. She was known as the face and voice of Nightwish while bandleader Holopainen was the soul. Turunen was seen as a key to Nightwish's success. She is respected by other musicians of the metal genre and is an influence on their work; for instance, Simone Simons of Epica names her as her inspiration to study classical music and apply that vocal style to a metal band.
Turunen receives most of her media attention in Europe, especially in her home of Finland. In December 2003, she was invited by Finnish president Tarja Halonen to celebrate Finnish Independence Day at the Presidential Palace together with other Finnish celebrities. The event is televised annually live by the state-owned broadcaster, the Finnish Broadcasting Company. In December 2007, she performed different versions of the Finnish national anthem "Maamme" (Finnish: "Our country") accompanied by the Tapiola Sinfonietta, to celebrate the 90th anniversary of Finnish independence. The concert was televised by the Finnish Broadcasting Company for 2 million Finnish viewers. In December 2013, Turunen was the invited soloist at the Christmas Peace event in the Turku Cathedral, Finland, with the presence of Finnish president Sauli Niinistö. The concert aired on Yle TV1 at the Christmas Eve. During her solo career, Turunen has sold over 100,000 certified records in Finland, which places her among the top 50 of best-selling female soloists.
In Europe, her popularity is mainly limited to the hard rock and metal scene. She had a broader exposure on 30 November 2007, when she was invited to open the farewell fight of Regina Halmich. Her performance of "I Walk Alone" was televised live by the German television station ZDF for 8.8 million viewers. Turunen was one of the star coaches in the fourth season of The Voice of Finland in the spring of 2015 on Nelonen. After the success of the 2015 edition of The Voice of Finland, Tarja was again chosen to be one of the star coaches for the 2016 edition. In 2016 in honor of the Day of the Finnish Identity, celebrated on May 12, Finland published a new set of official emojis, which symbolizes Finnish culture and history - among other iconic Finnish imagery there were music related emojis, including Tarja Turunen as "The Voice".
Personal life
Turunen married Argentine businessman Marcelo Cabuli on 31 December 2002 – their wedding was celebrated in July 2003; they lived in Buenos Aires with their daughter who was born in 2012. In an interview Tarja explained that in 2016 they had plans to move back to Europe due to her touring schedule and that their daughter was starting school in the coming year. She currently lives in the south of Spain (Andalusia). In October 2021, she revealed that she had a stroke three years earlier after a U.S. tour.
Discography
Solo career
Henkäys ikuisuudesta (2006, Christmas Album)
My Winter Storm (2007)
What Lies Beneath (2010)
Colours in the Dark (2013)
Ave Maria – En Plein Air (2015, Classical album)
The Shadow Self (2016)
From Spirits and Ghosts (2017, Christmas Album)
In the Raw (2019)
Outlanders (2021–present)
With Nightwish
Angels Fall First (1997)
Oceanborn (1998)
Wishmaster (2000)
Over the Hills and Far Away (2001)
Century Child (2002)
Once (2004)
Notes
References
External links
Tarja's Official Website
Colours in the Dark Blog
Beauty and the Beat Official Website
Tarja Turunen, Interview: "Music Has Been My Driving Force" October 28, 2011
1977 births
Living people
People from Kitee
Finnish emigrants to Argentina
Women heavy metal singers
Finnish heavy metal singers
Finnish Lutherans
Finnish women singer-songwriters
Finnish sopranos
Women composers
Nightwish members
Hochschule für Musik Karlsruhe alumni
English-language singers from Finland
Finnish expatriates in Spain
Finnish Karelian people
Singers with a three-octave vocal range | true | [
"\"Talk About Love\" is a song recorded by Christine Anu. It was released in October 2003 as the first and only single from her third studio album, 45 Degrees (2003). The song peaked at number 85 on the ARIA Charts.\n\nContent\nLyrically, the song sees Anu confront someone who believes they know about love, without evidence:\n\n\"You talk about love / But I can't see any love coming out of your mind \nYou talk about truth / But you don't seem to know what the truth is all about \nYou talk about me / Tell me what you've done to make that come about \nTalk to me about something real, baby / Can you hear me now?\"\n\nTrack listing\nCD single/Digital download (021522)\n \"Talk About Love\" – 3:30\n \"Talk About Love\" (Jarrad Rogers and Tony Espie Remix) – 3:19\n \"Talk About Love\" (instrumental) – 3:30\n\nCharts\n\nReferences\n\n2003 songs\n2003 singles\nMushroom Records singles\nChristine Anu songs\nSongs written by Jarrad Rogers\nFunk songs\nAustralian pop rock songs\nSongs written by Gary Pinto",
"\"Tell Me How You Feel\" is a song by American singer and actress Joy Enriquez. It samples \"Mellow Mellow Right On\" by Lowrell Simon. The song was released as the second single from her debut self-titled studio album in September 2000, peaking at number 17 on the US Billboard Bubbling Under R&B/Hip-Hop Songs chart, number 24 in Australia and number 14 in New Zealand, where it was certified Gold for sales of over 5,000.\n\nTrack listings\n\nUS CD single\n \"Tell Me How You Feel\" – 4:06\n Snippets from Joy Enriquez\n \"Shake Up the Party\"\n \"Situation\"\n \"I Can't Believe\"\n\nAustralian maxi-CD single\n \"Tell Me How You Feel\" – 4:06\n \"Tell Me How You Feel\" (Full Crew remix) – 4:04\n \"Between You and Me\" – 4:21\n \"How Can I Not Love You\" – 4:33\n\nEuropean CD single\n \"Tell Me How You Feel\" (album version) – 4:06\n \"Tell Me How You Feel\" (Full Crew remix) – 4:05\n\nEuropean maxi-CD single\n \"Tell Me How You Feel\" (album version) – 4:06\n \"Tell Me How You Feel\" (Full Crew remix) – 4:05\n \"Dime mi amor\" (Spanish version) – 3:59\n \"Tell Me How You Feel\" (instrumental) – 4:05\n\nJapanese CD single\n \"Tell Me How You Feel\"\n \"How Can I Not Love You\"\n\nCharts\n\nCertifications\n\nRelease history\n\nReferences\n\nExternal links\n at Discogs\n\n2000 singles\n2000 songs\n2001 singles\nArista Records singles\nSong recordings produced by Soulshock and Karlin\nSongs written by Kenneth Karlin\nSongs written by Soulshock"
]
|
[
"Tarja Turunen",
"Reception and legacy",
"What can you tell me about her legacy?",
"Turunen's voice is described by critics as remarkably powerful and emotional. Sometimes it is stated that her voice is too trained or operatic for metal music,"
]
| C_e281527c954c4b71a70ba6465451662d_0 | What else is said about her voice? | 2 | In addition to the legacy, What else is said about Tarja Turunen's voice? | Tarja Turunen | Turunen's voice is described by critics as remarkably powerful and emotional. Sometimes it is stated that her voice is too trained or operatic for metal music, but even critics who do not like classical voices admit that her voice suits the kind of metal songs she sings unusually well. Until the end of their collaboration, Turunen's singing was a trademark of Nightwish. She was known as the face and voice of Nightwish while bandleader Holopainen was the soul. Turunen was seen as a key to Nightwish's success. She is respected by other musicians of the metal genre and is an influence on their work; for instance, Simone Simons of Epica names her as her inspiration to study classical music and apply that vocal style to a metal band. Turunen receives most of her media attention in Europe, especially in her home of Finland. In December 2003, she was invited by Finnish president Tarja Halonen to celebrate the Finnish Independence Day at the Presidential Palace together with other Finnish celebrities. The event is televised annually live by the state-owned broadcaster, the Finnish Broadcasting Company. In December 2007, she performed different versions of the Finnish national anthem "Maamme" (Finnish: "Our country") accompanied by the Tapiola Sinfonietta, to celebrate the 90th anniversary of Finnish independence. The concert was televised by the Finnish Broadcasting Company for 2 million Finnish viewers. In December 2013, Turunen was the invited soloist at the Christmas Peace event in the Turku Cathedral, Finland, with the presence of Finnish president Sauli Niinisto. The concert aired on Yle TV1 at the Christmas Eve. During her solo career, Turunen has sold over 100,000 certified records in Finland, which places her among the top 50 of best-selling female soloists. In Europe, her popularity is mainly limited to the hard rock and metal scene. She had a broader exposure on November 30, 2007, when she was invited to open the farewell fight of Regina Halmich. Her performance of "I Walk Alone" was televised live by the German television station ZDF for 8.8 million viewers. Turunen will be one of the star coaches in the fourth season of The Voice of Finland in the spring of 2015 on Nelonen. After the success of the 2015 edition of The Voice of Finland, Tarja was again chosen to be one of the star coaches for the 2016 edition. CANNOTANSWER | but even critics who do not like classical voices admit that her voice suits the kind of metal songs she sings unusually well. | Tarja Soile Susanna Turunen-Cabuli (born 17 August 1977), known professionally as Tarja Turunen or simply Tarja, is a Finnish heavy metal singer-songwriter. She is a soprano with a three and a half octave range.
Turunen studied singing at Sibelius Academy and Hochschule für Musik Karlsruhe. She is a professional classical lied singer, and the former lead vocalist of the Finnish symphonic metal band Nightwish, which she founded with Tuomas Holopainen and Emppu Vuorinen in 1996. Their combination of hard and fast guitar riffs with Turunen's dramatic, "operatic" lead vocals quickly achieved critical and commercial popularity. Their symphonic metal style, soon dubbed "opera metal", inspired many other metal bands and performers.
Turunen was dismissed from the band on 21 October 2005 (just after the performance of the band's End of an Era concert) for personal reasons. She started her solo career in 2006 with the release of a Christmas album called Henkäys ikuisuudesta. In 2007, Turunen released My Winter Storm, an album featuring various styles including symphonic metal, and started the Storm World Tour. She performed several concerts in Europe, playing in metal festivals including the Graspop Metal Meeting and the Wacken Open Air, before releasing her third album, What Lies Beneath, supported by a tour, which lasted until April 2012. Her first live DVD Act I was filmed during this tour on 30 and 31 March 2012 in Rosario, Argentina. Act I was released in August 2012. Turunen started the Colours in the Dark World Tour in October 2013 to promote her new album Colours in the Dark. Her second live DVD was filmed during the events of Beauty and the Beat and was released in May.
In September 2015, Tarja Turunen released her first classical studio album, Ave Maria – En Plein Air. In August 2016 she released The Shadow Self with a prequel EP The Brightest Void released on 3 June. Her latest album In the Raw, was released on 30 August 2019.
Life and career
1977–1995: Early life
Tarja Turunen was born in the small village of Puhos, near Kitee, Finland. She has an older brother, Timo, and a younger brother, Toni. Her mother Ritva Sisko Marjatta (Hakkarainen) worked in the town administration, and her father Teuvo Turunen is a carpenter. Her talent for music was first noted when she sang the song "Enkeli taivaan" (the Finnish version of "From Heaven Above to Earth I Come") in the Kitee church hall at age three. She joined the church choir and started taking vocal lessons. At age six, she started playing piano.
At comprehensive school, Turunen performed as a singer for several projects. Her first piano teacher Kirsti Nortia-Holopainen, "Tarja was in a school that had some very musical people. Even then she got to perform a lot. I think she sang in every school function there was." Her music teacher, Plamen Dimov, later explained that, "If you gave Tarja just one note, she immediately got it. With the others, you'd have to practice three, four, five times". At school she had a tough time, since some girls bullied her because they envied her voice. To solve that problem, Dimov organized projects outside school. At fifteen, Turunen had her first major appearance as a soloist at a church concert in front of a thousand listeners. In 1993 she attended the Senior Secondary School of Art and Music in Savonlinna.
For several years Turunen performed various songs including soul music by Whitney Houston and Aretha Franklin. Later she listened to songs from the classical crossover singer Sarah Brightman, especially the song "The Phantom of the Opera", and decided to focus on that genre of music. At eighteen, she moved to Kuopio to study at the Sibelius Academy.
1996–2005: Nightwish
In December 1996, former classmate Tuomas Holopainen invited Turunen to join his new acoustic mood music project, and she immediately agreed. At the recording session for the first demo Holopainen discovered that due to her classical singing lessons, Turunen's voice had become much more powerful than he recalled from their school days. At the following band practices, Emppu Vuorinen used an electric guitar instead of an acoustic guitar because he felt that it gave a better accompaniment to her voice. Holopainen later explained that the band members had gradually realised that Turunen's voice had become too dramatic for acoustic mood music and eventually came to the conclusion that the music had to be massive too. Hence Holopainen decided to form Nightwish as a metal band.
Nightwish recorded a second demo with "more bombastic, dramatic" songs in September 1997. Holopainen used this material to convince the Finnish label Spinefarm Records to publish the band's debut album, Angels Fall First. The success of the first album came as a surprise to the label. As the album hit the top 40 of the Finnish charts, Nightwish started their tour The First Tour of the Angels. That same year, Turunen performed at the Savonlinna Opera Festival for the first time, singing songs from Wagner and Verdi.
Due to her commitment to the band, Turunen was not able to concentrate sufficiently on her schoolwork and her academic studies were interrupted. In 1998, Nightwish published their second album, Oceanborn. This album lacked the earlier elements of folk and ambient music, and instead focused on fast, melodic keyboard and guitar lines and Turunen's dramatic voice. In addition to the Oceanborn Europe Tour (1999), Turunen sang solo in Waltari's rock-themed ballet Evankeliumi (also known as Evangelicum) in several sold-out performances at the Finnish National Opera. In 2000 and 2001, Nightwish recorded Wishmaster and Over the Hills and Far Away and toured Europe and South America (the Wishmaster World Tour). During the Wishmaster World Tour, Turunen met Argentine businessman Marcelo Cabuli whom she married in 2003.
Turunen enrolled in 2000 at the German music university Hochschule für Musik Karlsruhe to gain a professional qualification as a soloist with further specialization in art song. In addition to the good reputation of the university, Turunen chose to go to Karlsruhe because some people at the Finnish university did not take her seriously as a classical singer due to her commitment in a metal band. While there, she recorded vocals for Nightwish's 2002 album Century Child and for Beto Vázquez Infinity. As with the other albums, Holopainen wrote the pieces and sent Turunen the lyrics and a demo recording of the prerecorded instrumental tracks by mail. Using the demo, Turunen designed her vocal lines and the choral passages.
In 2002, Turunen toured South America, performing in the classical Lied concert Noche Escandinava (Scandinavian Night) to sold-out houses. Following this and an exhausting world tour in support of Century Child (the World Tour of the Century), Nightwish took a hiatus and Turunen returned to Karlsruhe to finish her studies. After the hiatus Nightwish recorded the album Once; it was released in May 2004. The album has sold platinum in Finland and Germany and was the best selling album in all of Europe in July 2004. The band performed in the supporting Once Upon a Tour throughout 2004 and 2005.
For Christmas 2004, Turunen released her first solo single, titled "Yhden enkelin unelma" (One Angel's Dream), which sold gold in her native country of Finland. At Christmas 2005 it made a reentry at position one in the Finnish Charts. In spring 2005 she prepared the duet "Leaving You for Me", a collaboration with Martin Kesici, accompanied by a video.
2005: Breakup
The first change in the line up of Nightwish was in September 2001, when bassist Sami Vänskä was fired because Holopainen was no longer able to continue working with him. In the following years the relationship between Holopainen and Turunen's husband and manager Marcelo Cabuli deteriorated. This affected the relationship between Holopainen and Turunen as well. At a band meeting after the concert in Oberhausen in December 2004 Turunen informed the band members that she wanted to leave the band, but agreed to record one more album and to participate in the subsequent tour, planned for 2006/2007. According to her husband, Turunen had further agreed not to make her decision public and to release her first solo album after the new studio album from Nightwish. After the last concert of the Once Upon a Tour on 21 October 2005 (which was released on video as End of an Era), Holopainen and the other band members informed Turunen in an open letter that the band did not want to work with her any more, accusing her of diva-like behaviour and greed:
The split and, due to the open letter's allegations, Turunen's character became the subject of close media coverage. Turunen responded through an open letter on her website and through some interviews in which she explained her view. She was upset that after nine years of working together, Holopainen announced the separation via an open letter. Because of the continuing media interest, Marcelo Cabuli posted a message addressing the situation on the website in February 2006. He asked that anyone who had questions should email him. In June 2006, Cabuli posted a lengthy reply to many of the questions he had received. He answered questions related to the greed accusation by explaining that the band had agreed on the distribution of earnings in a contract at the formation of Nightwish. Based on that contract, every band member got a fixed share of 20% of the band's income. Marcelo Cabuli stated that, unlike others, Turunen had never fought for additional songwriter royalties.
Despite the circumstances of the separation, Holopainen's appreciation of Turunen as an artist remained. He explained that he did not search for a similarly trained singer as a successor for Turunen because he considers her to be extraordinarily good in her genre and therefore irreplaceable. Turunen said in an interview that she is very proud of her career with Nightwish. She considers the remaining band members extremely talented and wishes all the best for them and their subsequent lead singer Anette Olzon.
2005–present: Independent career
At the end of 2005, Turunen performed several classical concerts in Finland, Germany, Spain, and Romania. Since she expected to participate in another Nightwish album, several concerts and the release of her Christmas album Henkäys ikuisuudesta (officially translated as Breath from Heaven) were the only activities scheduled for 2006. Turunen again played at the Savonlinna Opera Festival in July 2006, this time as the main act; she sang alongside Finnish tenor Raimo Sirkiä, supported by the Kuopio Symphonic Orchestra. Turunen performed classical arias like "O mio babbino caro" by Puccini, "Libiamo ne' lieti calici" by Verdi and some songs from Andrew Lloyd Webber—"Don't Cry for Me Argentina" and "Phantom of the Opera"—among other songs. In November she performed at the charity concert "Tomorrow's Child" with the Tapiola Choir as a benefit for the UNICEF Children's Fund. On 6 December 2006, Turunen performed a big concert at the Sibelius Hall in Lahti, Finland; it was broadcast live by the Finnish channel YLE TV2 for 450,000 viewers. She was nominated for the Finnish Emma Award as Best Soloist of 2006. The following year, Turunen recorded vocals for the track "In the Picture" on the Nuclear Blast All-stars album Into the Light.
In August 2006 she started to work on her next solo album, My Winter Storm, the beginning of her main solo project. It was the first time that Turunen had written songs. She was supported by some professional songwriters. The choir and orchestral arrangements were written by film music composer James Dooley. Turunen released My Winter Storm, an album featuring various styles, including symphonic metal with classical "operatic" lead vocals, in November 2007. The album took the number one spot on the Finnish charts, and went platinum in Finland double platinum in Russia and gold in Germany.
She was nominated for an Echo as best newcomer and an Emma for best Finnish artist. On 25 November 2007, Turunen embarked on the Storm World Tour to promote My Winter Storm. She performed 95 concerts throughout Europe, North and South America and ended the tour in October 2009 at the O2 Academy Islington in London. In December 2008, the EP The Seer was released in the UK and the new extended edition of My Winter Storm released in January 2009.
She also contributed three songs to the Finnish charity Christmas album Maailman kauneimmat joululaulut (Finnish for "The World's Most Beautiful Christmas Songs") released in November 2009. In December 2009 she recorded her vocal part for the song "The Good Die Young", a duet with Klaus Meine which is included on the final Scorpions album Sting in the Tail.
Turunen recorded her third album, What Lies Beneath, in 2009 and 2010; it was released in September 2010. The album combined metal with classical "operatic" elements in an out of the box approach. She started the What Lies Beneath World Tour performing in several festivals, including the Wacken Open Air and the Graspop Metal Meeting, with special concerts at Miskolc Opera Festival and at the Masters of Rock, when she performed accompanied by a full orchestra. The tour is scheduled to last until April 2012. Also in 2010 she supported Alice Cooper on the German leg of his Theatre of Death Tour. On 17 July 2011, she sang again at the Savonlinna Opera Festival along with José Cura and accompanied by the Kuopio Symphony Orchestra.
In March 2012, Turunen won the title "Europe's best crossover performer" with over 100,000 votes.
In May 2013, Turunen announced the title of her 4th solo album, Colours in the Dark, which was released on 30 August. On 31 May the song "Never Enough" was released as a teaser. Later this year, in September, it was revealed that Turunen would appear as guest vocalist on the title track and video of Within Temptation's EP Paradise, released on 27 September.
In January 2014, Turunen revealed through her blog that she would soon return to the studio and record vocals for a couple of songs for her Outlanders project together with Torsten Stenzel & Walter Giardino.
In May 2014, it was released the DVD Beauty and the Beat, providing live footage from 3 concerts as part of the Beauty and the Beat World Tour. The DVD shows Tarja performing live with a symphonic orchestra, choir and Mike Terrana on drums. Songs include Antonín Dvořák's "Song to the Moon" from Rusalka and Led Zeppelin's "Kashmir", and also a live version of the rarely performed song "Swanheart" from the 1998 Nightwish album Oceanborn. On the same year, in July, Left in the Dark was released as an EP containing alternative versions from Tarja's album Colours in the Dark, as well as a studio version of "Into the Sun".
On 17 October 2015, Tarja performed two new songs from her forthcoming album, "No Bitter End" and "Goldfinger", which is a cover of the title song of the James Bond film with the same name.
Tarja announced she is to release a new album in the summer of 2016. She explains that "she has been working hard once again with Tim Palmer to create the heaviest sound so far of her career for her fourth rock album". She also explained that the album will follow in the same footsteps as her other albums but with a new soul and growth. A teaser with a snippet of two songs was then released on her official YouTube channel. On 17 February 2016, Tarja also revealed the first letter of the album name to be T. On March 14, 2016, Tarja made public title and cover of her new album, The Shadow Self.
On April 7, Tarja announced the release, scheduled for June 3, of The Brightest Void, the "prequel" of The Shadow Self; The Brightest Void contains the song "No Bitter End", also included in The Shadow Self, the duet with Within Temptation "Paradise (What About Us?)" and several covers.
The Shadow Self was released on August 5, 2016. The lead single was the track "Innocence".
On November 17, 2017, Tarja released From Spirits and Ghosts (Score for a Dark Christmas), her second classical and Christmas album. With the album release comes also Tarja Turunen's first graphic novel, From Spirits and Ghosts (Novel for a Dark Christmas). The 40-page novel is about the world of dark Christmas scripted by Peter Rogers with accompanying art by Conor Boyle.
On July 27, 2018, Tarja released Act II, a live album and DVD recorded during the concert on November 29, 2016, at the Teatro della Luna in Milan, during the world tour The Shadow Shows.
On 30 August 2019, Tarja released In the Raw. For this album Tarja Turunen joined forces with other Heavy Metal vocalists such as Björn Strid, Tommy Karevik, and Cristina Scabbia, thus including in the album vocal collaborations with them.
On 19 June 2021, Tarja annouced the release of a book in October 2021, Singing in My Blood in which the book would share the story of her life in music.
At the end of 2021, Tarja launched the ten-year project called Outlanders which combines her vocals with electronic beats, and featuring guest artists such as Yes guitarist Trevor Rabin and jazz guitarist Al Di Meola.
Singing style
Development
Along with visiting the music school in Savonlinna, Turunen began serious classical vocal training at 17. After school, she began studying music (with a specialization in church music) at the Sibelius Academy. Due to her commitment with Nightwish, she had to interrupt her academic studies.
From 2001 to 2003, she studied at the music academy Hochschule für Musik Karlsruhe, where she trained as a soloist with further specialization in art songs. Turunen originally applied to train as a choir singer. At the audition she attracted the attention of professor Mitsuko Shirai, who encouraged Turunen to apply for soloist training.
As a classical singer, Turunen sings with classical vocal technique. She explained that in the early days of Nightwish, it was difficult to combine classical technique with the metal sound in a way that gave her liberty of action without damaging her vocal cords. Classical techniques helped her to play with her voice, so she decided not to pursue extra training in rock/pop singing.
Towards the turn of the millennium, the combination of hard and fast guitar riffs with classical female lead vocals attracted a great deal of attention in the metal scene. The new music style of Nightwish quickly achieved critical and commercial popularity; this symphonic metal style was soon dubbed "opera metal". Turunen does not see herself as an opera singer. She has sung excerpts from operas at the Savonlinna Opera Festival, but she stresses that singing opera cannot be performed as a side project. She would need special training to perfectly sing an entire opera without a microphone.
When asked how the association between the opera and metal genres may have arisen, Turunen said that despite the obvious differences, the two music styles have some similarities:
From the first Nightwish album Angels Fall First (1997) on, critics described Turunen's vocals using adjectives such as angelic or valkyrian. The Valkyrie image was later fostered by the second video for the single "Sleeping Sun" in which Turunen walks on a battlefield as if she were guiding the dead warriors.
On the following albums the singing was technically more complex. On the Nightwish album Oceanborn (1998), her classical vocal training was much more noticeable. For the song "Passion and the Opera", Turunen performed a staccato coloratura reminiscent of the aria "Hell's vengeance boils in my heart", sung by the soprano role Queen of the Night in Mozart's opera The Magic Flute. "Sleeping Sun" required a well-trained breathing technique. Turunen explained in an interview that when they recorded Oceanborn, she had serious doubts, fearing that she was not yet advanced enough in her studies to have mastered the required techniques.
A challenge of a different kind was the cover version of Gary Moore's "Over the Hills and Far Away" (2001), as it required a deeper voice, far below the vocal range of an average soprano. In an interview with Breakout magazine, she reported that in the studio, the band members were shaken by a paroxysm of laughter as she tried to warm up for the vocal lines. As a side benefit of her efforts, Turunen gradually expanded her vocal range considerably into the lower range, which manifested even more on the following albums.
For the album Century Child (2002), she experimented with a more "rock" sounding voice, where she maintained the classical singing technique, but, for example, sang with less vibrato. Turunen was not satisfied that she had successfully transitioned to this new style until the album Once (2004).
This deeper "rock"-sounding voice on Once—as well as on the song "In the Picture" of the album Into the Light—was welcomed by critics as a refreshing change.
Her first solo album My Winter Storm (2007) contains rock and metal songs as well as songs that resemble classical songs. Turunen uses both her classical singing voice and a rock-sounding voice. In many songs she starts with a rock voice, and then switches for widely arching melodies into a distinctly classical singing voice.
In an interview, she explained that My Winter Storm was the first album where she had the chance to use her full vocal range.
In the album Colours in the Dark she used her speaking voice for the first time in many years.
Register
Turunen's voice type is soprano. Over the course of her career, Turunen has developed a vocal range of three octaves.
Her range is apparent on her album My Winter Storm, where the lowest note sung is F3 in the song "The Seer", while in another song, she aimed for D6.
Reception and legacy
Turunen's voice is described by critics as remarkably powerful and emotional. Sometimes it is stated that her voice is too trained or operatic for metal music, but even critics who do not like classical voices admit that her voice suits the kind of metal songs she sings unusually well.
Until the end of their collaboration, Turunen's singing was a trademark of Nightwish. She was known as the face and voice of Nightwish while bandleader Holopainen was the soul. Turunen was seen as a key to Nightwish's success. She is respected by other musicians of the metal genre and is an influence on their work; for instance, Simone Simons of Epica names her as her inspiration to study classical music and apply that vocal style to a metal band.
Turunen receives most of her media attention in Europe, especially in her home of Finland. In December 2003, she was invited by Finnish president Tarja Halonen to celebrate Finnish Independence Day at the Presidential Palace together with other Finnish celebrities. The event is televised annually live by the state-owned broadcaster, the Finnish Broadcasting Company. In December 2007, she performed different versions of the Finnish national anthem "Maamme" (Finnish: "Our country") accompanied by the Tapiola Sinfonietta, to celebrate the 90th anniversary of Finnish independence. The concert was televised by the Finnish Broadcasting Company for 2 million Finnish viewers. In December 2013, Turunen was the invited soloist at the Christmas Peace event in the Turku Cathedral, Finland, with the presence of Finnish president Sauli Niinistö. The concert aired on Yle TV1 at the Christmas Eve. During her solo career, Turunen has sold over 100,000 certified records in Finland, which places her among the top 50 of best-selling female soloists.
In Europe, her popularity is mainly limited to the hard rock and metal scene. She had a broader exposure on 30 November 2007, when she was invited to open the farewell fight of Regina Halmich. Her performance of "I Walk Alone" was televised live by the German television station ZDF for 8.8 million viewers. Turunen was one of the star coaches in the fourth season of The Voice of Finland in the spring of 2015 on Nelonen. After the success of the 2015 edition of The Voice of Finland, Tarja was again chosen to be one of the star coaches for the 2016 edition. In 2016 in honor of the Day of the Finnish Identity, celebrated on May 12, Finland published a new set of official emojis, which symbolizes Finnish culture and history - among other iconic Finnish imagery there were music related emojis, including Tarja Turunen as "The Voice".
Personal life
Turunen married Argentine businessman Marcelo Cabuli on 31 December 2002 – their wedding was celebrated in July 2003; they lived in Buenos Aires with their daughter who was born in 2012. In an interview Tarja explained that in 2016 they had plans to move back to Europe due to her touring schedule and that their daughter was starting school in the coming year. She currently lives in the south of Spain (Andalusia). In October 2021, she revealed that she had a stroke three years earlier after a U.S. tour.
Discography
Solo career
Henkäys ikuisuudesta (2006, Christmas Album)
My Winter Storm (2007)
What Lies Beneath (2010)
Colours in the Dark (2013)
Ave Maria – En Plein Air (2015, Classical album)
The Shadow Self (2016)
From Spirits and Ghosts (2017, Christmas Album)
In the Raw (2019)
Outlanders (2021–present)
With Nightwish
Angels Fall First (1997)
Oceanborn (1998)
Wishmaster (2000)
Over the Hills and Far Away (2001)
Century Child (2002)
Once (2004)
Notes
References
External links
Tarja's Official Website
Colours in the Dark Blog
Beauty and the Beat Official Website
Tarja Turunen, Interview: "Music Has Been My Driving Force" October 28, 2011
1977 births
Living people
People from Kitee
Finnish emigrants to Argentina
Women heavy metal singers
Finnish heavy metal singers
Finnish Lutherans
Finnish women singer-songwriters
Finnish sopranos
Women composers
Nightwish members
Hochschule für Musik Karlsruhe alumni
English-language singers from Finland
Finnish expatriates in Spain
Finnish Karelian people
Singers with a three-octave vocal range | true | [
"\"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",
"\"Losing Me\" is a song by English singer-songwriters Gabrielle Aplin and JP Cooper, released on 14 August 2019 through Never Fade Records and AWAL. It serves as the third single from Aplin's upcoming third studio album, Dear Happy (2020).\n\nBackground\nOn 8 August 2019, Aplin announced the release of her new single on social media. The song was produced by Lostboy and Mike Spencer. Talking about the song, Aplin said, \"Losing Me is about what you wish you could hear when you're having a particularly hard time, while also being that voice to someone else who needs it. It's about remaining connected when there is so much in modern life that can give the illusion of oneness whilst making us feel more alone. I've been a huge fan of JP Cooper for years and I'm so happy he agreed to be on this song with me. I saw JP play an acoustic set at a festival three years ago I've wanted to work with him ever since.\"\n\nMusic video\nA music video to accompany the release of \"Losing Me\" was first released onto YouTube on 15 August 2019. Aplin said that the inspiration behind the video is how in the modern world, even when we're surrounded by people and things we can still feel desensitised and disconnected from everything going on.\n\nCharts\n\nRelease history\n\nReferences\n\n2016 songs\n2016 singles\nGabrielle Aplin songs"
]
|
[
"Tarja Turunen",
"Reception and legacy",
"What can you tell me about her legacy?",
"Turunen's voice is described by critics as remarkably powerful and emotional. Sometimes it is stated that her voice is too trained or operatic for metal music,",
"What else is said about her voice?",
"but even critics who do not like classical voices admit that her voice suits the kind of metal songs she sings unusually well."
]
| C_e281527c954c4b71a70ba6465451662d_0 | What type of style did she have? | 3 | What type of style did Tarja Turunen have? | Tarja Turunen | Turunen's voice is described by critics as remarkably powerful and emotional. Sometimes it is stated that her voice is too trained or operatic for metal music, but even critics who do not like classical voices admit that her voice suits the kind of metal songs she sings unusually well. Until the end of their collaboration, Turunen's singing was a trademark of Nightwish. She was known as the face and voice of Nightwish while bandleader Holopainen was the soul. Turunen was seen as a key to Nightwish's success. She is respected by other musicians of the metal genre and is an influence on their work; for instance, Simone Simons of Epica names her as her inspiration to study classical music and apply that vocal style to a metal band. Turunen receives most of her media attention in Europe, especially in her home of Finland. In December 2003, she was invited by Finnish president Tarja Halonen to celebrate the Finnish Independence Day at the Presidential Palace together with other Finnish celebrities. The event is televised annually live by the state-owned broadcaster, the Finnish Broadcasting Company. In December 2007, she performed different versions of the Finnish national anthem "Maamme" (Finnish: "Our country") accompanied by the Tapiola Sinfonietta, to celebrate the 90th anniversary of Finnish independence. The concert was televised by the Finnish Broadcasting Company for 2 million Finnish viewers. In December 2013, Turunen was the invited soloist at the Christmas Peace event in the Turku Cathedral, Finland, with the presence of Finnish president Sauli Niinisto. The concert aired on Yle TV1 at the Christmas Eve. During her solo career, Turunen has sold over 100,000 certified records in Finland, which places her among the top 50 of best-selling female soloists. In Europe, her popularity is mainly limited to the hard rock and metal scene. She had a broader exposure on November 30, 2007, when she was invited to open the farewell fight of Regina Halmich. Her performance of "I Walk Alone" was televised live by the German television station ZDF for 8.8 million viewers. Turunen will be one of the star coaches in the fourth season of The Voice of Finland in the spring of 2015 on Nelonen. After the success of the 2015 edition of The Voice of Finland, Tarja was again chosen to be one of the star coaches for the 2016 edition. CANNOTANSWER | operatic | Tarja Soile Susanna Turunen-Cabuli (born 17 August 1977), known professionally as Tarja Turunen or simply Tarja, is a Finnish heavy metal singer-songwriter. She is a soprano with a three and a half octave range.
Turunen studied singing at Sibelius Academy and Hochschule für Musik Karlsruhe. She is a professional classical lied singer, and the former lead vocalist of the Finnish symphonic metal band Nightwish, which she founded with Tuomas Holopainen and Emppu Vuorinen in 1996. Their combination of hard and fast guitar riffs with Turunen's dramatic, "operatic" lead vocals quickly achieved critical and commercial popularity. Their symphonic metal style, soon dubbed "opera metal", inspired many other metal bands and performers.
Turunen was dismissed from the band on 21 October 2005 (just after the performance of the band's End of an Era concert) for personal reasons. She started her solo career in 2006 with the release of a Christmas album called Henkäys ikuisuudesta. In 2007, Turunen released My Winter Storm, an album featuring various styles including symphonic metal, and started the Storm World Tour. She performed several concerts in Europe, playing in metal festivals including the Graspop Metal Meeting and the Wacken Open Air, before releasing her third album, What Lies Beneath, supported by a tour, which lasted until April 2012. Her first live DVD Act I was filmed during this tour on 30 and 31 March 2012 in Rosario, Argentina. Act I was released in August 2012. Turunen started the Colours in the Dark World Tour in October 2013 to promote her new album Colours in the Dark. Her second live DVD was filmed during the events of Beauty and the Beat and was released in May.
In September 2015, Tarja Turunen released her first classical studio album, Ave Maria – En Plein Air. In August 2016 she released The Shadow Self with a prequel EP The Brightest Void released on 3 June. Her latest album In the Raw, was released on 30 August 2019.
Life and career
1977–1995: Early life
Tarja Turunen was born in the small village of Puhos, near Kitee, Finland. She has an older brother, Timo, and a younger brother, Toni. Her mother Ritva Sisko Marjatta (Hakkarainen) worked in the town administration, and her father Teuvo Turunen is a carpenter. Her talent for music was first noted when she sang the song "Enkeli taivaan" (the Finnish version of "From Heaven Above to Earth I Come") in the Kitee church hall at age three. She joined the church choir and started taking vocal lessons. At age six, she started playing piano.
At comprehensive school, Turunen performed as a singer for several projects. Her first piano teacher Kirsti Nortia-Holopainen, "Tarja was in a school that had some very musical people. Even then she got to perform a lot. I think she sang in every school function there was." Her music teacher, Plamen Dimov, later explained that, "If you gave Tarja just one note, she immediately got it. With the others, you'd have to practice three, four, five times". At school she had a tough time, since some girls bullied her because they envied her voice. To solve that problem, Dimov organized projects outside school. At fifteen, Turunen had her first major appearance as a soloist at a church concert in front of a thousand listeners. In 1993 she attended the Senior Secondary School of Art and Music in Savonlinna.
For several years Turunen performed various songs including soul music by Whitney Houston and Aretha Franklin. Later she listened to songs from the classical crossover singer Sarah Brightman, especially the song "The Phantom of the Opera", and decided to focus on that genre of music. At eighteen, she moved to Kuopio to study at the Sibelius Academy.
1996–2005: Nightwish
In December 1996, former classmate Tuomas Holopainen invited Turunen to join his new acoustic mood music project, and she immediately agreed. At the recording session for the first demo Holopainen discovered that due to her classical singing lessons, Turunen's voice had become much more powerful than he recalled from their school days. At the following band practices, Emppu Vuorinen used an electric guitar instead of an acoustic guitar because he felt that it gave a better accompaniment to her voice. Holopainen later explained that the band members had gradually realised that Turunen's voice had become too dramatic for acoustic mood music and eventually came to the conclusion that the music had to be massive too. Hence Holopainen decided to form Nightwish as a metal band.
Nightwish recorded a second demo with "more bombastic, dramatic" songs in September 1997. Holopainen used this material to convince the Finnish label Spinefarm Records to publish the band's debut album, Angels Fall First. The success of the first album came as a surprise to the label. As the album hit the top 40 of the Finnish charts, Nightwish started their tour The First Tour of the Angels. That same year, Turunen performed at the Savonlinna Opera Festival for the first time, singing songs from Wagner and Verdi.
Due to her commitment to the band, Turunen was not able to concentrate sufficiently on her schoolwork and her academic studies were interrupted. In 1998, Nightwish published their second album, Oceanborn. This album lacked the earlier elements of folk and ambient music, and instead focused on fast, melodic keyboard and guitar lines and Turunen's dramatic voice. In addition to the Oceanborn Europe Tour (1999), Turunen sang solo in Waltari's rock-themed ballet Evankeliumi (also known as Evangelicum) in several sold-out performances at the Finnish National Opera. In 2000 and 2001, Nightwish recorded Wishmaster and Over the Hills and Far Away and toured Europe and South America (the Wishmaster World Tour). During the Wishmaster World Tour, Turunen met Argentine businessman Marcelo Cabuli whom she married in 2003.
Turunen enrolled in 2000 at the German music university Hochschule für Musik Karlsruhe to gain a professional qualification as a soloist with further specialization in art song. In addition to the good reputation of the university, Turunen chose to go to Karlsruhe because some people at the Finnish university did not take her seriously as a classical singer due to her commitment in a metal band. While there, she recorded vocals for Nightwish's 2002 album Century Child and for Beto Vázquez Infinity. As with the other albums, Holopainen wrote the pieces and sent Turunen the lyrics and a demo recording of the prerecorded instrumental tracks by mail. Using the demo, Turunen designed her vocal lines and the choral passages.
In 2002, Turunen toured South America, performing in the classical Lied concert Noche Escandinava (Scandinavian Night) to sold-out houses. Following this and an exhausting world tour in support of Century Child (the World Tour of the Century), Nightwish took a hiatus and Turunen returned to Karlsruhe to finish her studies. After the hiatus Nightwish recorded the album Once; it was released in May 2004. The album has sold platinum in Finland and Germany and was the best selling album in all of Europe in July 2004. The band performed in the supporting Once Upon a Tour throughout 2004 and 2005.
For Christmas 2004, Turunen released her first solo single, titled "Yhden enkelin unelma" (One Angel's Dream), which sold gold in her native country of Finland. At Christmas 2005 it made a reentry at position one in the Finnish Charts. In spring 2005 she prepared the duet "Leaving You for Me", a collaboration with Martin Kesici, accompanied by a video.
2005: Breakup
The first change in the line up of Nightwish was in September 2001, when bassist Sami Vänskä was fired because Holopainen was no longer able to continue working with him. In the following years the relationship between Holopainen and Turunen's husband and manager Marcelo Cabuli deteriorated. This affected the relationship between Holopainen and Turunen as well. At a band meeting after the concert in Oberhausen in December 2004 Turunen informed the band members that she wanted to leave the band, but agreed to record one more album and to participate in the subsequent tour, planned for 2006/2007. According to her husband, Turunen had further agreed not to make her decision public and to release her first solo album after the new studio album from Nightwish. After the last concert of the Once Upon a Tour on 21 October 2005 (which was released on video as End of an Era), Holopainen and the other band members informed Turunen in an open letter that the band did not want to work with her any more, accusing her of diva-like behaviour and greed:
The split and, due to the open letter's allegations, Turunen's character became the subject of close media coverage. Turunen responded through an open letter on her website and through some interviews in which she explained her view. She was upset that after nine years of working together, Holopainen announced the separation via an open letter. Because of the continuing media interest, Marcelo Cabuli posted a message addressing the situation on the website in February 2006. He asked that anyone who had questions should email him. In June 2006, Cabuli posted a lengthy reply to many of the questions he had received. He answered questions related to the greed accusation by explaining that the band had agreed on the distribution of earnings in a contract at the formation of Nightwish. Based on that contract, every band member got a fixed share of 20% of the band's income. Marcelo Cabuli stated that, unlike others, Turunen had never fought for additional songwriter royalties.
Despite the circumstances of the separation, Holopainen's appreciation of Turunen as an artist remained. He explained that he did not search for a similarly trained singer as a successor for Turunen because he considers her to be extraordinarily good in her genre and therefore irreplaceable. Turunen said in an interview that she is very proud of her career with Nightwish. She considers the remaining band members extremely talented and wishes all the best for them and their subsequent lead singer Anette Olzon.
2005–present: Independent career
At the end of 2005, Turunen performed several classical concerts in Finland, Germany, Spain, and Romania. Since she expected to participate in another Nightwish album, several concerts and the release of her Christmas album Henkäys ikuisuudesta (officially translated as Breath from Heaven) were the only activities scheduled for 2006. Turunen again played at the Savonlinna Opera Festival in July 2006, this time as the main act; she sang alongside Finnish tenor Raimo Sirkiä, supported by the Kuopio Symphonic Orchestra. Turunen performed classical arias like "O mio babbino caro" by Puccini, "Libiamo ne' lieti calici" by Verdi and some songs from Andrew Lloyd Webber—"Don't Cry for Me Argentina" and "Phantom of the Opera"—among other songs. In November she performed at the charity concert "Tomorrow's Child" with the Tapiola Choir as a benefit for the UNICEF Children's Fund. On 6 December 2006, Turunen performed a big concert at the Sibelius Hall in Lahti, Finland; it was broadcast live by the Finnish channel YLE TV2 for 450,000 viewers. She was nominated for the Finnish Emma Award as Best Soloist of 2006. The following year, Turunen recorded vocals for the track "In the Picture" on the Nuclear Blast All-stars album Into the Light.
In August 2006 she started to work on her next solo album, My Winter Storm, the beginning of her main solo project. It was the first time that Turunen had written songs. She was supported by some professional songwriters. The choir and orchestral arrangements were written by film music composer James Dooley. Turunen released My Winter Storm, an album featuring various styles, including symphonic metal with classical "operatic" lead vocals, in November 2007. The album took the number one spot on the Finnish charts, and went platinum in Finland double platinum in Russia and gold in Germany.
She was nominated for an Echo as best newcomer and an Emma for best Finnish artist. On 25 November 2007, Turunen embarked on the Storm World Tour to promote My Winter Storm. She performed 95 concerts throughout Europe, North and South America and ended the tour in October 2009 at the O2 Academy Islington in London. In December 2008, the EP The Seer was released in the UK and the new extended edition of My Winter Storm released in January 2009.
She also contributed three songs to the Finnish charity Christmas album Maailman kauneimmat joululaulut (Finnish for "The World's Most Beautiful Christmas Songs") released in November 2009. In December 2009 she recorded her vocal part for the song "The Good Die Young", a duet with Klaus Meine which is included on the final Scorpions album Sting in the Tail.
Turunen recorded her third album, What Lies Beneath, in 2009 and 2010; it was released in September 2010. The album combined metal with classical "operatic" elements in an out of the box approach. She started the What Lies Beneath World Tour performing in several festivals, including the Wacken Open Air and the Graspop Metal Meeting, with special concerts at Miskolc Opera Festival and at the Masters of Rock, when she performed accompanied by a full orchestra. The tour is scheduled to last until April 2012. Also in 2010 she supported Alice Cooper on the German leg of his Theatre of Death Tour. On 17 July 2011, she sang again at the Savonlinna Opera Festival along with José Cura and accompanied by the Kuopio Symphony Orchestra.
In March 2012, Turunen won the title "Europe's best crossover performer" with over 100,000 votes.
In May 2013, Turunen announced the title of her 4th solo album, Colours in the Dark, which was released on 30 August. On 31 May the song "Never Enough" was released as a teaser. Later this year, in September, it was revealed that Turunen would appear as guest vocalist on the title track and video of Within Temptation's EP Paradise, released on 27 September.
In January 2014, Turunen revealed through her blog that she would soon return to the studio and record vocals for a couple of songs for her Outlanders project together with Torsten Stenzel & Walter Giardino.
In May 2014, it was released the DVD Beauty and the Beat, providing live footage from 3 concerts as part of the Beauty and the Beat World Tour. The DVD shows Tarja performing live with a symphonic orchestra, choir and Mike Terrana on drums. Songs include Antonín Dvořák's "Song to the Moon" from Rusalka and Led Zeppelin's "Kashmir", and also a live version of the rarely performed song "Swanheart" from the 1998 Nightwish album Oceanborn. On the same year, in July, Left in the Dark was released as an EP containing alternative versions from Tarja's album Colours in the Dark, as well as a studio version of "Into the Sun".
On 17 October 2015, Tarja performed two new songs from her forthcoming album, "No Bitter End" and "Goldfinger", which is a cover of the title song of the James Bond film with the same name.
Tarja announced she is to release a new album in the summer of 2016. She explains that "she has been working hard once again with Tim Palmer to create the heaviest sound so far of her career for her fourth rock album". She also explained that the album will follow in the same footsteps as her other albums but with a new soul and growth. A teaser with a snippet of two songs was then released on her official YouTube channel. On 17 February 2016, Tarja also revealed the first letter of the album name to be T. On March 14, 2016, Tarja made public title and cover of her new album, The Shadow Self.
On April 7, Tarja announced the release, scheduled for June 3, of The Brightest Void, the "prequel" of The Shadow Self; The Brightest Void contains the song "No Bitter End", also included in The Shadow Self, the duet with Within Temptation "Paradise (What About Us?)" and several covers.
The Shadow Self was released on August 5, 2016. The lead single was the track "Innocence".
On November 17, 2017, Tarja released From Spirits and Ghosts (Score for a Dark Christmas), her second classical and Christmas album. With the album release comes also Tarja Turunen's first graphic novel, From Spirits and Ghosts (Novel for a Dark Christmas). The 40-page novel is about the world of dark Christmas scripted by Peter Rogers with accompanying art by Conor Boyle.
On July 27, 2018, Tarja released Act II, a live album and DVD recorded during the concert on November 29, 2016, at the Teatro della Luna in Milan, during the world tour The Shadow Shows.
On 30 August 2019, Tarja released In the Raw. For this album Tarja Turunen joined forces with other Heavy Metal vocalists such as Björn Strid, Tommy Karevik, and Cristina Scabbia, thus including in the album vocal collaborations with them.
On 19 June 2021, Tarja annouced the release of a book in October 2021, Singing in My Blood in which the book would share the story of her life in music.
At the end of 2021, Tarja launched the ten-year project called Outlanders which combines her vocals with electronic beats, and featuring guest artists such as Yes guitarist Trevor Rabin and jazz guitarist Al Di Meola.
Singing style
Development
Along with visiting the music school in Savonlinna, Turunen began serious classical vocal training at 17. After school, she began studying music (with a specialization in church music) at the Sibelius Academy. Due to her commitment with Nightwish, she had to interrupt her academic studies.
From 2001 to 2003, she studied at the music academy Hochschule für Musik Karlsruhe, where she trained as a soloist with further specialization in art songs. Turunen originally applied to train as a choir singer. At the audition she attracted the attention of professor Mitsuko Shirai, who encouraged Turunen to apply for soloist training.
As a classical singer, Turunen sings with classical vocal technique. She explained that in the early days of Nightwish, it was difficult to combine classical technique with the metal sound in a way that gave her liberty of action without damaging her vocal cords. Classical techniques helped her to play with her voice, so she decided not to pursue extra training in rock/pop singing.
Towards the turn of the millennium, the combination of hard and fast guitar riffs with classical female lead vocals attracted a great deal of attention in the metal scene. The new music style of Nightwish quickly achieved critical and commercial popularity; this symphonic metal style was soon dubbed "opera metal". Turunen does not see herself as an opera singer. She has sung excerpts from operas at the Savonlinna Opera Festival, but she stresses that singing opera cannot be performed as a side project. She would need special training to perfectly sing an entire opera without a microphone.
When asked how the association between the opera and metal genres may have arisen, Turunen said that despite the obvious differences, the two music styles have some similarities:
From the first Nightwish album Angels Fall First (1997) on, critics described Turunen's vocals using adjectives such as angelic or valkyrian. The Valkyrie image was later fostered by the second video for the single "Sleeping Sun" in which Turunen walks on a battlefield as if she were guiding the dead warriors.
On the following albums the singing was technically more complex. On the Nightwish album Oceanborn (1998), her classical vocal training was much more noticeable. For the song "Passion and the Opera", Turunen performed a staccato coloratura reminiscent of the aria "Hell's vengeance boils in my heart", sung by the soprano role Queen of the Night in Mozart's opera The Magic Flute. "Sleeping Sun" required a well-trained breathing technique. Turunen explained in an interview that when they recorded Oceanborn, she had serious doubts, fearing that she was not yet advanced enough in her studies to have mastered the required techniques.
A challenge of a different kind was the cover version of Gary Moore's "Over the Hills and Far Away" (2001), as it required a deeper voice, far below the vocal range of an average soprano. In an interview with Breakout magazine, she reported that in the studio, the band members were shaken by a paroxysm of laughter as she tried to warm up for the vocal lines. As a side benefit of her efforts, Turunen gradually expanded her vocal range considerably into the lower range, which manifested even more on the following albums.
For the album Century Child (2002), she experimented with a more "rock" sounding voice, where she maintained the classical singing technique, but, for example, sang with less vibrato. Turunen was not satisfied that she had successfully transitioned to this new style until the album Once (2004).
This deeper "rock"-sounding voice on Once—as well as on the song "In the Picture" of the album Into the Light—was welcomed by critics as a refreshing change.
Her first solo album My Winter Storm (2007) contains rock and metal songs as well as songs that resemble classical songs. Turunen uses both her classical singing voice and a rock-sounding voice. In many songs she starts with a rock voice, and then switches for widely arching melodies into a distinctly classical singing voice.
In an interview, she explained that My Winter Storm was the first album where she had the chance to use her full vocal range.
In the album Colours in the Dark she used her speaking voice for the first time in many years.
Register
Turunen's voice type is soprano. Over the course of her career, Turunen has developed a vocal range of three octaves.
Her range is apparent on her album My Winter Storm, where the lowest note sung is F3 in the song "The Seer", while in another song, she aimed for D6.
Reception and legacy
Turunen's voice is described by critics as remarkably powerful and emotional. Sometimes it is stated that her voice is too trained or operatic for metal music, but even critics who do not like classical voices admit that her voice suits the kind of metal songs she sings unusually well.
Until the end of their collaboration, Turunen's singing was a trademark of Nightwish. She was known as the face and voice of Nightwish while bandleader Holopainen was the soul. Turunen was seen as a key to Nightwish's success. She is respected by other musicians of the metal genre and is an influence on their work; for instance, Simone Simons of Epica names her as her inspiration to study classical music and apply that vocal style to a metal band.
Turunen receives most of her media attention in Europe, especially in her home of Finland. In December 2003, she was invited by Finnish president Tarja Halonen to celebrate Finnish Independence Day at the Presidential Palace together with other Finnish celebrities. The event is televised annually live by the state-owned broadcaster, the Finnish Broadcasting Company. In December 2007, she performed different versions of the Finnish national anthem "Maamme" (Finnish: "Our country") accompanied by the Tapiola Sinfonietta, to celebrate the 90th anniversary of Finnish independence. The concert was televised by the Finnish Broadcasting Company for 2 million Finnish viewers. In December 2013, Turunen was the invited soloist at the Christmas Peace event in the Turku Cathedral, Finland, with the presence of Finnish president Sauli Niinistö. The concert aired on Yle TV1 at the Christmas Eve. During her solo career, Turunen has sold over 100,000 certified records in Finland, which places her among the top 50 of best-selling female soloists.
In Europe, her popularity is mainly limited to the hard rock and metal scene. She had a broader exposure on 30 November 2007, when she was invited to open the farewell fight of Regina Halmich. Her performance of "I Walk Alone" was televised live by the German television station ZDF for 8.8 million viewers. Turunen was one of the star coaches in the fourth season of The Voice of Finland in the spring of 2015 on Nelonen. After the success of the 2015 edition of The Voice of Finland, Tarja was again chosen to be one of the star coaches for the 2016 edition. In 2016 in honor of the Day of the Finnish Identity, celebrated on May 12, Finland published a new set of official emojis, which symbolizes Finnish culture and history - among other iconic Finnish imagery there were music related emojis, including Tarja Turunen as "The Voice".
Personal life
Turunen married Argentine businessman Marcelo Cabuli on 31 December 2002 – their wedding was celebrated in July 2003; they lived in Buenos Aires with their daughter who was born in 2012. In an interview Tarja explained that in 2016 they had plans to move back to Europe due to her touring schedule and that their daughter was starting school in the coming year. She currently lives in the south of Spain (Andalusia). In October 2021, she revealed that she had a stroke three years earlier after a U.S. tour.
Discography
Solo career
Henkäys ikuisuudesta (2006, Christmas Album)
My Winter Storm (2007)
What Lies Beneath (2010)
Colours in the Dark (2013)
Ave Maria – En Plein Air (2015, Classical album)
The Shadow Self (2016)
From Spirits and Ghosts (2017, Christmas Album)
In the Raw (2019)
Outlanders (2021–present)
With Nightwish
Angels Fall First (1997)
Oceanborn (1998)
Wishmaster (2000)
Over the Hills and Far Away (2001)
Century Child (2002)
Once (2004)
Notes
References
External links
Tarja's Official Website
Colours in the Dark Blog
Beauty and the Beat Official Website
Tarja Turunen, Interview: "Music Has Been My Driving Force" October 28, 2011
1977 births
Living people
People from Kitee
Finnish emigrants to Argentina
Women heavy metal singers
Finnish heavy metal singers
Finnish Lutherans
Finnish women singer-songwriters
Finnish sopranos
Women composers
Nightwish members
Hochschule für Musik Karlsruhe alumni
English-language singers from Finland
Finnish expatriates in Spain
Finnish Karelian people
Singers with a three-octave vocal range | true | [
"The 2008 North Korean Census was the second North Korea national census. The reference day used for the census was October 1, 2008. The census was taken by house-to-house interviews by enumerators using a census questionnaire. Roughly 35,000 enumerators were trained to help with the census. The population of North Korea was counted as 24,052,231 a 13.38% increase from the 1993 Census.\n\nThe results of the census are thought of as plausible by foreign observers.\n\nThe census was widely advertised in propaganda. This resulted in a detailed survey.\n\nThe 2008 census is the latest census of North Korea. The next census was scheduled for 2018.\n\nIntroduction \nNorth Korea completed its first census in 1993. In October 2006, a declaration was enacted to complete a second census in 2008. In order to test procedures, in October 2007, there was a pilot census completed across each of the provinces where roughly 50,000 households were counted. The actual census took place from October 1 – October 15, 2008 using October 1, 2008 at 1:00 AM as a reference point.\n\nQuestionnaire \nThere were several questions asked on the census broken into three modules:\n\nThe first module was titled Household and dwelling unit information. There were 14 questions in this module pertaining to the persons' housing unit. If the respondent lived in an institutional living quarter, then the rest of the section was skipped. All of the questions are listed below:\n\n How many are the members of this household?\n Type of Household\n What is the class of labor of head of this household?\n What is the previous class of labor of head of this household?\n What type of dwelling does this household occupy?\n Does this household have the first right to occupancy of this dwelling unit?\n What is the total floor area of this dwelling unit?\n How many rooms are there in this dwelling unit? (Exclude sitting room, Kitchen)\n Is there a water tap in this dwelling unit?\n What is the source of water supply for your household? \n What kind of toilet facility does your household have access to?\n What heating system is established in your household?\n What heating system is used by your household?\n Which fuel is used for cooking?\n\nThe second module was titled personal information and had the most questions of any of the modules. There was a total of 29 questions to be asked including sex, nationality, school level, marital status, and employment.\n\nThe third module was titled mortality. The first question was \"Did any member of this household die during the period 1 Oct. 2007 to 30 Sept. 2008?\" If the answer was no, the rest of this section was skipped. If the answer was yes, then five additional questions were asked. If the deceased person was a female between 15 and 49, five more additional questions were asked. All ten additional questions are listed below.\n\n What was/were the name(s) of the household member(s) who died?\n Sex\n When was _ born?\n When did _die?\n How old was __ when he/she died?\n Was pregnant at the time of her death?\n Did ___ die while having abortion or miscarriage or within 42 days of having abortion/miscarriage?\n Did _ die while giving birth or within 42 days of giving birth?\n Where did _die? (Home, Hospital, or Other)\n Did she have a live birth anytime between 1 0ct. 2007 and the time of death? If \"Yes\", How many male and female children did she give birth at that time?\n\nRankings\n\nSee also\n\n Demographics of North Korea\n\nNotes\n\nReferences \n \n\nCensuses in North Korea\nNorth Korea\nCensus",
"Cloister is a serif typeface that was designed by Morris Fuller Benton and published by American Type Founders from around 1913. It is loosely based on the printing of Nicolas Jenson in Venice in the 1470s, in what is now called the \"old style\" of serif fonts. American Type Founders presented it as an attractive but highly usable serif typeface, suitable both for body text and display use.\n\nMetal type release\nTo ensure its versatility, Cloister was released in a wide selection of sizes and weights. This included an italic (ATF's design, as italics did not exist in Jenson's time) with swash capitals, an inline style and Cloister Initials, a set of initial capitals by Frederic Goudy to match. The practice of creating a wide range of variants of a successful face was a standard ATF practice in order to capitalise on a successful typeface's popularity and allow coherent layout and graphic design; its 1923 specimen book described its approach of creating families which could allow types to \"talk at command with varying emphasis and orchestral power...the client [has] perceived that a catalogue or advertisement set in one type family had more influence...than if its message to the public were confused by a medley of display types.\"\n\nUnlike many other American Type Founders typefaces, Cloister was cast on the \"art line\" rather than the standardised \"common line\" of American metal type used in the period. This meant that it was cast with the area of the typeface above the baseline smaller than normal, so the descenders could be at a long, historically accurate length. ATF released a blackletter design under the name of \"Cloister Black\"; this and a set of Cloister Borders were the first ATF typefaces to use the name, before Cloister Old Style was released. Later Cloister was released on hot metal typesetting machines such as that of Linotype, Intertype and Monotype, and additional weights were created for these.\n\nCloister was somewhat variably named by printers in the metal type period, with \"Cloister Old Style\", \"Cloister Oldstyle\", \"Cloister Old Face\" and \"Cloister Oldface\" all used to refer to it.\n\nCloister's release in metal type included the following:\n Cloister Old Style roman\n Cloister Italic\n Cloister Cursive (swash alternates for the italic)\n Cloister Bold\n Cloister Bold Italic\n Cloister Title (titling capitals, talking up the whole surface area of the metal type with no space for descenders)\n Cloister Bold Title\n Cloister Bold Condensed\n Cloister Lightface (a lighter style)\n Cloister Lightface Italic\n Cloister Cursive Handtooled\n\nDigitisations\n\nA digitisation has been released by P22 and another by URW. Goudy's Cloister Initials, much esteemed in their own right, have also been digitised by P22 and by Dieter Steffmann. Cloister Black has also been digitised separately.\n\nSee also\n Centaur\n Golden Type\n Hightower Text\n\nReferences\n\nExternal links\n ATF's 1923 specimen book (their legendary last major specimen before the Depression), showing Cloister on pp. 66–81 (original page numbers).\n Specimen sheet (Intertype specimen)\n ATF 1912 specimen book - shows Cloister Black (pages 810-811) and Cloister Borders (page 1038)\n\nLetterpress typefaces\nOld style serif typefaces\nTypefaces designed by Morris Fuller Benton\nAmerican Type Founders typefaces"
]
|
[
"Tarja Turunen",
"Reception and legacy",
"What can you tell me about her legacy?",
"Turunen's voice is described by critics as remarkably powerful and emotional. Sometimes it is stated that her voice is too trained or operatic for metal music,",
"What else is said about her voice?",
"but even critics who do not like classical voices admit that her voice suits the kind of metal songs she sings unusually well.",
"What type of style did she have?",
"operatic"
]
| C_e281527c954c4b71a70ba6465451662d_0 | Did anyone of note make any statements about her? | 4 | Did anyone of note make any statements about Tarja Turunen? | Tarja Turunen | Turunen's voice is described by critics as remarkably powerful and emotional. Sometimes it is stated that her voice is too trained or operatic for metal music, but even critics who do not like classical voices admit that her voice suits the kind of metal songs she sings unusually well. Until the end of their collaboration, Turunen's singing was a trademark of Nightwish. She was known as the face and voice of Nightwish while bandleader Holopainen was the soul. Turunen was seen as a key to Nightwish's success. She is respected by other musicians of the metal genre and is an influence on their work; for instance, Simone Simons of Epica names her as her inspiration to study classical music and apply that vocal style to a metal band. Turunen receives most of her media attention in Europe, especially in her home of Finland. In December 2003, she was invited by Finnish president Tarja Halonen to celebrate the Finnish Independence Day at the Presidential Palace together with other Finnish celebrities. The event is televised annually live by the state-owned broadcaster, the Finnish Broadcasting Company. In December 2007, she performed different versions of the Finnish national anthem "Maamme" (Finnish: "Our country") accompanied by the Tapiola Sinfonietta, to celebrate the 90th anniversary of Finnish independence. The concert was televised by the Finnish Broadcasting Company for 2 million Finnish viewers. In December 2013, Turunen was the invited soloist at the Christmas Peace event in the Turku Cathedral, Finland, with the presence of Finnish president Sauli Niinisto. The concert aired on Yle TV1 at the Christmas Eve. During her solo career, Turunen has sold over 100,000 certified records in Finland, which places her among the top 50 of best-selling female soloists. In Europe, her popularity is mainly limited to the hard rock and metal scene. She had a broader exposure on November 30, 2007, when she was invited to open the farewell fight of Regina Halmich. Her performance of "I Walk Alone" was televised live by the German television station ZDF for 8.8 million viewers. Turunen will be one of the star coaches in the fourth season of The Voice of Finland in the spring of 2015 on Nelonen. After the success of the 2015 edition of The Voice of Finland, Tarja was again chosen to be one of the star coaches for the 2016 edition. CANNOTANSWER | CANNOTANSWER | Tarja Soile Susanna Turunen-Cabuli (born 17 August 1977), known professionally as Tarja Turunen or simply Tarja, is a Finnish heavy metal singer-songwriter. She is a soprano with a three and a half octave range.
Turunen studied singing at Sibelius Academy and Hochschule für Musik Karlsruhe. She is a professional classical lied singer, and the former lead vocalist of the Finnish symphonic metal band Nightwish, which she founded with Tuomas Holopainen and Emppu Vuorinen in 1996. Their combination of hard and fast guitar riffs with Turunen's dramatic, "operatic" lead vocals quickly achieved critical and commercial popularity. Their symphonic metal style, soon dubbed "opera metal", inspired many other metal bands and performers.
Turunen was dismissed from the band on 21 October 2005 (just after the performance of the band's End of an Era concert) for personal reasons. She started her solo career in 2006 with the release of a Christmas album called Henkäys ikuisuudesta. In 2007, Turunen released My Winter Storm, an album featuring various styles including symphonic metal, and started the Storm World Tour. She performed several concerts in Europe, playing in metal festivals including the Graspop Metal Meeting and the Wacken Open Air, before releasing her third album, What Lies Beneath, supported by a tour, which lasted until April 2012. Her first live DVD Act I was filmed during this tour on 30 and 31 March 2012 in Rosario, Argentina. Act I was released in August 2012. Turunen started the Colours in the Dark World Tour in October 2013 to promote her new album Colours in the Dark. Her second live DVD was filmed during the events of Beauty and the Beat and was released in May.
In September 2015, Tarja Turunen released her first classical studio album, Ave Maria – En Plein Air. In August 2016 she released The Shadow Self with a prequel EP The Brightest Void released on 3 June. Her latest album In the Raw, was released on 30 August 2019.
Life and career
1977–1995: Early life
Tarja Turunen was born in the small village of Puhos, near Kitee, Finland. She has an older brother, Timo, and a younger brother, Toni. Her mother Ritva Sisko Marjatta (Hakkarainen) worked in the town administration, and her father Teuvo Turunen is a carpenter. Her talent for music was first noted when she sang the song "Enkeli taivaan" (the Finnish version of "From Heaven Above to Earth I Come") in the Kitee church hall at age three. She joined the church choir and started taking vocal lessons. At age six, she started playing piano.
At comprehensive school, Turunen performed as a singer for several projects. Her first piano teacher Kirsti Nortia-Holopainen, "Tarja was in a school that had some very musical people. Even then she got to perform a lot. I think she sang in every school function there was." Her music teacher, Plamen Dimov, later explained that, "If you gave Tarja just one note, she immediately got it. With the others, you'd have to practice three, four, five times". At school she had a tough time, since some girls bullied her because they envied her voice. To solve that problem, Dimov organized projects outside school. At fifteen, Turunen had her first major appearance as a soloist at a church concert in front of a thousand listeners. In 1993 she attended the Senior Secondary School of Art and Music in Savonlinna.
For several years Turunen performed various songs including soul music by Whitney Houston and Aretha Franklin. Later she listened to songs from the classical crossover singer Sarah Brightman, especially the song "The Phantom of the Opera", and decided to focus on that genre of music. At eighteen, she moved to Kuopio to study at the Sibelius Academy.
1996–2005: Nightwish
In December 1996, former classmate Tuomas Holopainen invited Turunen to join his new acoustic mood music project, and she immediately agreed. At the recording session for the first demo Holopainen discovered that due to her classical singing lessons, Turunen's voice had become much more powerful than he recalled from their school days. At the following band practices, Emppu Vuorinen used an electric guitar instead of an acoustic guitar because he felt that it gave a better accompaniment to her voice. Holopainen later explained that the band members had gradually realised that Turunen's voice had become too dramatic for acoustic mood music and eventually came to the conclusion that the music had to be massive too. Hence Holopainen decided to form Nightwish as a metal band.
Nightwish recorded a second demo with "more bombastic, dramatic" songs in September 1997. Holopainen used this material to convince the Finnish label Spinefarm Records to publish the band's debut album, Angels Fall First. The success of the first album came as a surprise to the label. As the album hit the top 40 of the Finnish charts, Nightwish started their tour The First Tour of the Angels. That same year, Turunen performed at the Savonlinna Opera Festival for the first time, singing songs from Wagner and Verdi.
Due to her commitment to the band, Turunen was not able to concentrate sufficiently on her schoolwork and her academic studies were interrupted. In 1998, Nightwish published their second album, Oceanborn. This album lacked the earlier elements of folk and ambient music, and instead focused on fast, melodic keyboard and guitar lines and Turunen's dramatic voice. In addition to the Oceanborn Europe Tour (1999), Turunen sang solo in Waltari's rock-themed ballet Evankeliumi (also known as Evangelicum) in several sold-out performances at the Finnish National Opera. In 2000 and 2001, Nightwish recorded Wishmaster and Over the Hills and Far Away and toured Europe and South America (the Wishmaster World Tour). During the Wishmaster World Tour, Turunen met Argentine businessman Marcelo Cabuli whom she married in 2003.
Turunen enrolled in 2000 at the German music university Hochschule für Musik Karlsruhe to gain a professional qualification as a soloist with further specialization in art song. In addition to the good reputation of the university, Turunen chose to go to Karlsruhe because some people at the Finnish university did not take her seriously as a classical singer due to her commitment in a metal band. While there, she recorded vocals for Nightwish's 2002 album Century Child and for Beto Vázquez Infinity. As with the other albums, Holopainen wrote the pieces and sent Turunen the lyrics and a demo recording of the prerecorded instrumental tracks by mail. Using the demo, Turunen designed her vocal lines and the choral passages.
In 2002, Turunen toured South America, performing in the classical Lied concert Noche Escandinava (Scandinavian Night) to sold-out houses. Following this and an exhausting world tour in support of Century Child (the World Tour of the Century), Nightwish took a hiatus and Turunen returned to Karlsruhe to finish her studies. After the hiatus Nightwish recorded the album Once; it was released in May 2004. The album has sold platinum in Finland and Germany and was the best selling album in all of Europe in July 2004. The band performed in the supporting Once Upon a Tour throughout 2004 and 2005.
For Christmas 2004, Turunen released her first solo single, titled "Yhden enkelin unelma" (One Angel's Dream), which sold gold in her native country of Finland. At Christmas 2005 it made a reentry at position one in the Finnish Charts. In spring 2005 she prepared the duet "Leaving You for Me", a collaboration with Martin Kesici, accompanied by a video.
2005: Breakup
The first change in the line up of Nightwish was in September 2001, when bassist Sami Vänskä was fired because Holopainen was no longer able to continue working with him. In the following years the relationship between Holopainen and Turunen's husband and manager Marcelo Cabuli deteriorated. This affected the relationship between Holopainen and Turunen as well. At a band meeting after the concert in Oberhausen in December 2004 Turunen informed the band members that she wanted to leave the band, but agreed to record one more album and to participate in the subsequent tour, planned for 2006/2007. According to her husband, Turunen had further agreed not to make her decision public and to release her first solo album after the new studio album from Nightwish. After the last concert of the Once Upon a Tour on 21 October 2005 (which was released on video as End of an Era), Holopainen and the other band members informed Turunen in an open letter that the band did not want to work with her any more, accusing her of diva-like behaviour and greed:
The split and, due to the open letter's allegations, Turunen's character became the subject of close media coverage. Turunen responded through an open letter on her website and through some interviews in which she explained her view. She was upset that after nine years of working together, Holopainen announced the separation via an open letter. Because of the continuing media interest, Marcelo Cabuli posted a message addressing the situation on the website in February 2006. He asked that anyone who had questions should email him. In June 2006, Cabuli posted a lengthy reply to many of the questions he had received. He answered questions related to the greed accusation by explaining that the band had agreed on the distribution of earnings in a contract at the formation of Nightwish. Based on that contract, every band member got a fixed share of 20% of the band's income. Marcelo Cabuli stated that, unlike others, Turunen had never fought for additional songwriter royalties.
Despite the circumstances of the separation, Holopainen's appreciation of Turunen as an artist remained. He explained that he did not search for a similarly trained singer as a successor for Turunen because he considers her to be extraordinarily good in her genre and therefore irreplaceable. Turunen said in an interview that she is very proud of her career with Nightwish. She considers the remaining band members extremely talented and wishes all the best for them and their subsequent lead singer Anette Olzon.
2005–present: Independent career
At the end of 2005, Turunen performed several classical concerts in Finland, Germany, Spain, and Romania. Since she expected to participate in another Nightwish album, several concerts and the release of her Christmas album Henkäys ikuisuudesta (officially translated as Breath from Heaven) were the only activities scheduled for 2006. Turunen again played at the Savonlinna Opera Festival in July 2006, this time as the main act; she sang alongside Finnish tenor Raimo Sirkiä, supported by the Kuopio Symphonic Orchestra. Turunen performed classical arias like "O mio babbino caro" by Puccini, "Libiamo ne' lieti calici" by Verdi and some songs from Andrew Lloyd Webber—"Don't Cry for Me Argentina" and "Phantom of the Opera"—among other songs. In November she performed at the charity concert "Tomorrow's Child" with the Tapiola Choir as a benefit for the UNICEF Children's Fund. On 6 December 2006, Turunen performed a big concert at the Sibelius Hall in Lahti, Finland; it was broadcast live by the Finnish channel YLE TV2 for 450,000 viewers. She was nominated for the Finnish Emma Award as Best Soloist of 2006. The following year, Turunen recorded vocals for the track "In the Picture" on the Nuclear Blast All-stars album Into the Light.
In August 2006 she started to work on her next solo album, My Winter Storm, the beginning of her main solo project. It was the first time that Turunen had written songs. She was supported by some professional songwriters. The choir and orchestral arrangements were written by film music composer James Dooley. Turunen released My Winter Storm, an album featuring various styles, including symphonic metal with classical "operatic" lead vocals, in November 2007. The album took the number one spot on the Finnish charts, and went platinum in Finland double platinum in Russia and gold in Germany.
She was nominated for an Echo as best newcomer and an Emma for best Finnish artist. On 25 November 2007, Turunen embarked on the Storm World Tour to promote My Winter Storm. She performed 95 concerts throughout Europe, North and South America and ended the tour in October 2009 at the O2 Academy Islington in London. In December 2008, the EP The Seer was released in the UK and the new extended edition of My Winter Storm released in January 2009.
She also contributed three songs to the Finnish charity Christmas album Maailman kauneimmat joululaulut (Finnish for "The World's Most Beautiful Christmas Songs") released in November 2009. In December 2009 she recorded her vocal part for the song "The Good Die Young", a duet with Klaus Meine which is included on the final Scorpions album Sting in the Tail.
Turunen recorded her third album, What Lies Beneath, in 2009 and 2010; it was released in September 2010. The album combined metal with classical "operatic" elements in an out of the box approach. She started the What Lies Beneath World Tour performing in several festivals, including the Wacken Open Air and the Graspop Metal Meeting, with special concerts at Miskolc Opera Festival and at the Masters of Rock, when she performed accompanied by a full orchestra. The tour is scheduled to last until April 2012. Also in 2010 she supported Alice Cooper on the German leg of his Theatre of Death Tour. On 17 July 2011, she sang again at the Savonlinna Opera Festival along with José Cura and accompanied by the Kuopio Symphony Orchestra.
In March 2012, Turunen won the title "Europe's best crossover performer" with over 100,000 votes.
In May 2013, Turunen announced the title of her 4th solo album, Colours in the Dark, which was released on 30 August. On 31 May the song "Never Enough" was released as a teaser. Later this year, in September, it was revealed that Turunen would appear as guest vocalist on the title track and video of Within Temptation's EP Paradise, released on 27 September.
In January 2014, Turunen revealed through her blog that she would soon return to the studio and record vocals for a couple of songs for her Outlanders project together with Torsten Stenzel & Walter Giardino.
In May 2014, it was released the DVD Beauty and the Beat, providing live footage from 3 concerts as part of the Beauty and the Beat World Tour. The DVD shows Tarja performing live with a symphonic orchestra, choir and Mike Terrana on drums. Songs include Antonín Dvořák's "Song to the Moon" from Rusalka and Led Zeppelin's "Kashmir", and also a live version of the rarely performed song "Swanheart" from the 1998 Nightwish album Oceanborn. On the same year, in July, Left in the Dark was released as an EP containing alternative versions from Tarja's album Colours in the Dark, as well as a studio version of "Into the Sun".
On 17 October 2015, Tarja performed two new songs from her forthcoming album, "No Bitter End" and "Goldfinger", which is a cover of the title song of the James Bond film with the same name.
Tarja announced she is to release a new album in the summer of 2016. She explains that "she has been working hard once again with Tim Palmer to create the heaviest sound so far of her career for her fourth rock album". She also explained that the album will follow in the same footsteps as her other albums but with a new soul and growth. A teaser with a snippet of two songs was then released on her official YouTube channel. On 17 February 2016, Tarja also revealed the first letter of the album name to be T. On March 14, 2016, Tarja made public title and cover of her new album, The Shadow Self.
On April 7, Tarja announced the release, scheduled for June 3, of The Brightest Void, the "prequel" of The Shadow Self; The Brightest Void contains the song "No Bitter End", also included in The Shadow Self, the duet with Within Temptation "Paradise (What About Us?)" and several covers.
The Shadow Self was released on August 5, 2016. The lead single was the track "Innocence".
On November 17, 2017, Tarja released From Spirits and Ghosts (Score for a Dark Christmas), her second classical and Christmas album. With the album release comes also Tarja Turunen's first graphic novel, From Spirits and Ghosts (Novel for a Dark Christmas). The 40-page novel is about the world of dark Christmas scripted by Peter Rogers with accompanying art by Conor Boyle.
On July 27, 2018, Tarja released Act II, a live album and DVD recorded during the concert on November 29, 2016, at the Teatro della Luna in Milan, during the world tour The Shadow Shows.
On 30 August 2019, Tarja released In the Raw. For this album Tarja Turunen joined forces with other Heavy Metal vocalists such as Björn Strid, Tommy Karevik, and Cristina Scabbia, thus including in the album vocal collaborations with them.
On 19 June 2021, Tarja annouced the release of a book in October 2021, Singing in My Blood in which the book would share the story of her life in music.
At the end of 2021, Tarja launched the ten-year project called Outlanders which combines her vocals with electronic beats, and featuring guest artists such as Yes guitarist Trevor Rabin and jazz guitarist Al Di Meola.
Singing style
Development
Along with visiting the music school in Savonlinna, Turunen began serious classical vocal training at 17. After school, she began studying music (with a specialization in church music) at the Sibelius Academy. Due to her commitment with Nightwish, she had to interrupt her academic studies.
From 2001 to 2003, she studied at the music academy Hochschule für Musik Karlsruhe, where she trained as a soloist with further specialization in art songs. Turunen originally applied to train as a choir singer. At the audition she attracted the attention of professor Mitsuko Shirai, who encouraged Turunen to apply for soloist training.
As a classical singer, Turunen sings with classical vocal technique. She explained that in the early days of Nightwish, it was difficult to combine classical technique with the metal sound in a way that gave her liberty of action without damaging her vocal cords. Classical techniques helped her to play with her voice, so she decided not to pursue extra training in rock/pop singing.
Towards the turn of the millennium, the combination of hard and fast guitar riffs with classical female lead vocals attracted a great deal of attention in the metal scene. The new music style of Nightwish quickly achieved critical and commercial popularity; this symphonic metal style was soon dubbed "opera metal". Turunen does not see herself as an opera singer. She has sung excerpts from operas at the Savonlinna Opera Festival, but she stresses that singing opera cannot be performed as a side project. She would need special training to perfectly sing an entire opera without a microphone.
When asked how the association between the opera and metal genres may have arisen, Turunen said that despite the obvious differences, the two music styles have some similarities:
From the first Nightwish album Angels Fall First (1997) on, critics described Turunen's vocals using adjectives such as angelic or valkyrian. The Valkyrie image was later fostered by the second video for the single "Sleeping Sun" in which Turunen walks on a battlefield as if she were guiding the dead warriors.
On the following albums the singing was technically more complex. On the Nightwish album Oceanborn (1998), her classical vocal training was much more noticeable. For the song "Passion and the Opera", Turunen performed a staccato coloratura reminiscent of the aria "Hell's vengeance boils in my heart", sung by the soprano role Queen of the Night in Mozart's opera The Magic Flute. "Sleeping Sun" required a well-trained breathing technique. Turunen explained in an interview that when they recorded Oceanborn, she had serious doubts, fearing that she was not yet advanced enough in her studies to have mastered the required techniques.
A challenge of a different kind was the cover version of Gary Moore's "Over the Hills and Far Away" (2001), as it required a deeper voice, far below the vocal range of an average soprano. In an interview with Breakout magazine, she reported that in the studio, the band members were shaken by a paroxysm of laughter as she tried to warm up for the vocal lines. As a side benefit of her efforts, Turunen gradually expanded her vocal range considerably into the lower range, which manifested even more on the following albums.
For the album Century Child (2002), she experimented with a more "rock" sounding voice, where she maintained the classical singing technique, but, for example, sang with less vibrato. Turunen was not satisfied that she had successfully transitioned to this new style until the album Once (2004).
This deeper "rock"-sounding voice on Once—as well as on the song "In the Picture" of the album Into the Light—was welcomed by critics as a refreshing change.
Her first solo album My Winter Storm (2007) contains rock and metal songs as well as songs that resemble classical songs. Turunen uses both her classical singing voice and a rock-sounding voice. In many songs she starts with a rock voice, and then switches for widely arching melodies into a distinctly classical singing voice.
In an interview, she explained that My Winter Storm was the first album where she had the chance to use her full vocal range.
In the album Colours in the Dark she used her speaking voice for the first time in many years.
Register
Turunen's voice type is soprano. Over the course of her career, Turunen has developed a vocal range of three octaves.
Her range is apparent on her album My Winter Storm, where the lowest note sung is F3 in the song "The Seer", while in another song, she aimed for D6.
Reception and legacy
Turunen's voice is described by critics as remarkably powerful and emotional. Sometimes it is stated that her voice is too trained or operatic for metal music, but even critics who do not like classical voices admit that her voice suits the kind of metal songs she sings unusually well.
Until the end of their collaboration, Turunen's singing was a trademark of Nightwish. She was known as the face and voice of Nightwish while bandleader Holopainen was the soul. Turunen was seen as a key to Nightwish's success. She is respected by other musicians of the metal genre and is an influence on their work; for instance, Simone Simons of Epica names her as her inspiration to study classical music and apply that vocal style to a metal band.
Turunen receives most of her media attention in Europe, especially in her home of Finland. In December 2003, she was invited by Finnish president Tarja Halonen to celebrate Finnish Independence Day at the Presidential Palace together with other Finnish celebrities. The event is televised annually live by the state-owned broadcaster, the Finnish Broadcasting Company. In December 2007, she performed different versions of the Finnish national anthem "Maamme" (Finnish: "Our country") accompanied by the Tapiola Sinfonietta, to celebrate the 90th anniversary of Finnish independence. The concert was televised by the Finnish Broadcasting Company for 2 million Finnish viewers. In December 2013, Turunen was the invited soloist at the Christmas Peace event in the Turku Cathedral, Finland, with the presence of Finnish president Sauli Niinistö. The concert aired on Yle TV1 at the Christmas Eve. During her solo career, Turunen has sold over 100,000 certified records in Finland, which places her among the top 50 of best-selling female soloists.
In Europe, her popularity is mainly limited to the hard rock and metal scene. She had a broader exposure on 30 November 2007, when she was invited to open the farewell fight of Regina Halmich. Her performance of "I Walk Alone" was televised live by the German television station ZDF for 8.8 million viewers. Turunen was one of the star coaches in the fourth season of The Voice of Finland in the spring of 2015 on Nelonen. After the success of the 2015 edition of The Voice of Finland, Tarja was again chosen to be one of the star coaches for the 2016 edition. In 2016 in honor of the Day of the Finnish Identity, celebrated on May 12, Finland published a new set of official emojis, which symbolizes Finnish culture and history - among other iconic Finnish imagery there were music related emojis, including Tarja Turunen as "The Voice".
Personal life
Turunen married Argentine businessman Marcelo Cabuli on 31 December 2002 – their wedding was celebrated in July 2003; they lived in Buenos Aires with their daughter who was born in 2012. In an interview Tarja explained that in 2016 they had plans to move back to Europe due to her touring schedule and that their daughter was starting school in the coming year. She currently lives in the south of Spain (Andalusia). In October 2021, she revealed that she had a stroke three years earlier after a U.S. tour.
Discography
Solo career
Henkäys ikuisuudesta (2006, Christmas Album)
My Winter Storm (2007)
What Lies Beneath (2010)
Colours in the Dark (2013)
Ave Maria – En Plein Air (2015, Classical album)
The Shadow Self (2016)
From Spirits and Ghosts (2017, Christmas Album)
In the Raw (2019)
Outlanders (2021–present)
With Nightwish
Angels Fall First (1997)
Oceanborn (1998)
Wishmaster (2000)
Over the Hills and Far Away (2001)
Century Child (2002)
Once (2004)
Notes
References
External links
Tarja's Official Website
Colours in the Dark Blog
Beauty and the Beat Official Website
Tarja Turunen, Interview: "Music Has Been My Driving Force" October 28, 2011
1977 births
Living people
People from Kitee
Finnish emigrants to Argentina
Women heavy metal singers
Finnish heavy metal singers
Finnish Lutherans
Finnish women singer-songwriters
Finnish sopranos
Women composers
Nightwish members
Hochschule für Musik Karlsruhe alumni
English-language singers from Finland
Finnish expatriates in Spain
Finnish Karelian people
Singers with a three-octave vocal range | false | [
"A simple non-inferential passage is a type of nonargument characterized by the lack of a claim that anything is being proved. Simple non-inferential passages include warnings, pieces of advice, statements of belief or opinion, loosely associated statements, and reports. Simple non-inferential passages are nonarguments because while the statements involved may be premises, conclusions or both, the statements do not serve to infer a conclusion or support one another. This is distinct from a logical fallacy, which indicates an error in reasoning.\n\nTypes\n\nWarnings \nA warning is a type of simple non-inferential passage that serves to alert a person to any sort of potential danger. This can be as simple as a road sign indicating falling rock or a janitorial sign indicating a wet, slippery floor.\n\nPiece of advice \nA piece of advice is a type of simple non-inferential passage that recommends some future action or course of conduct. A mechanic recommending regular oil changes or a doctor recommending that a patient refrain from smoking are examples of pieces of advice.\n\nStatements of belief or opinion \n\nA statement of belief or opinion is a type of simple non-inferential passage containing an expression of belief or opinion lacking an inferential claim. In A concise introduction to logic, Hurley uses the following example to illustrate:\n\nLoosely associated statements \n\nA loosely associated statement is a type of simple non-inferential passage wherein statements about a general subject are juxtaposed but make no inferential claim. As a rhetorical device, loosely associated statements may be intended by the speaker to infer a claim or conclusion, but because they lack a coherent logical structure any such interpretation is subjective as loosely associated statements prove nothing and attempt no obvious conclusion. Loosely associated statements can be said to serve no obvious purpose, such as illustration or explanation.\n\nReports \nA report is a type of simple non-inferential passage wherein the statements serve to convey knowledge. \n\nThe above is considered a report because it informs the reader without making any sort of claim, ethical or otherwise. However, the statements being made could be seen as a set of premises, and with the addition of a conclusion it would be considered an argument.\n\nReferences \n\nRhetoric\nLogic\nStatements",
"Making false statements () is the common name for the United States federal process crime laid out in Section 1001 of Title 18 of the United States Code, which generally prohibits knowingly and willfully making false or fraudulent statements, or concealing information, in \"any matter within the jurisdiction\" of the federal government of the United States, even by merely denying guilt when asked by a federal agent. A number of notable people have been convicted under the section, including Martha Stewart, Rod Blagojevich, Michael T. Flynn, Rick Gates, Scooter Libby, Bernard Madoff, and Jeffrey Skilling.\n\nThis statute is used in many contexts. Most commonly, prosecutors use this statute to reach cover-up crimes such as perjury, false declarations, and obstruction of justice and government fraud cases.\n\nIts earliest progenitor was the False Claims Act of 1863. In 1934, the requirement of an intent to defraud was eliminated. This was to prosecute successfully, under the National Industrial Recovery Act of 1933 (NIRA), the producers of \"hot oil\", i.e. oil produced in violation of restrictions established by NIRA. In 1935, NIRA was declared unconstitutional by the Supreme Court.\n\nPursuant to the decision in United States v. Gaudin, the jury is to decide whether the false statements made were material, since materiality is an element of the offense.\n\nOverview\nThe statute spells out this purpose in subsection , which states:\n\nIn Bryson v. United States, upholding conviction under , the Supreme Court stated:\n\nEven constitutionally explicit Fifth Amendment rights do not exonerate affirmative false statements. In the 1998 case Brogan v. United States'', the Supreme Court rejected the \"exculpatory no\" doctrine that had previously been followed by seven of the courts of appeal, which had held that \"the mere denial of wrongdoing\" did not fall within the scope of § 1001.\n\nConvictions\nA number of notable people have been convicted under the section, including Martha Stewart, Rod Blagojevich, Scooter Libby, Bernard Madoff, Michael Cohen and Jeffrey Skilling.\n\nMany famous people have been charged under this law, including Najibullah Zazi (whose lying charge was later dropped after more serious charges were preferred against him), Ali Saleh Kahlah Al-Marri, and Martha Stewart. \n\nIn the wake of such cases, many observers have concluded that it is best for anyone with the slightest degree of criminal exposure to refrain from submitting to an interview by government agents. Solomon L. Wisenberg suggests simply asking for the agent's business card and saying, \"[M]y attorney will be in contact with you.\" The invocation of counsel cannot be used against a defendant at trial.\n\nJurisdiction\nThe jurisdictional element of the crime is defined as the \"right to say and the power to act\". It applies to criminal investigations, such as false statements made in response to an inquiry by an FBI or other Federal agent, or made voluntarily to an agent.\n\nCourts have affirmed § 1001 convictions for false statements made to private entities receiving federal funds or subject to federal regulation or supervision.\n\nSome courts have recognized an \"exculpatory no\" exception for simple false denials of guilt in response to government initiated inquiries, while others have rejected it or done neither.\n\nHistory\nThe earliest statutory progenitor of §1001 was the original False Claims Act, adopted as the Act of March 2, 1863, . That enactment made it a criminal offense for any person, whether a civilian or a member of the military services, to:\n\n… present or cause to be presented for payment or approval to or by any person or officer in the civil or military service of the United States, any claim upon or against the Government of the United States, or any department or officer thereof, knowing such claim to be false, fictitious, or fraudulent …\n\nIt was completely reworded by , which amended the statute to read:\n\n… or whoever, for the purpose of obtaining or aiding to obtain the payment or approval of such claim, or for the purpose and with the intent of cheating and swindling or defrauding the Government of the United States, or any department thereof, or any corporation in which the United States of America is a stockholder, shall knowingly and willfully falsify or conceal or cover up by any trick, scheme, or device a material fact, or make or cause to be made any false or fraudulent statements or representations, or make or use or cause to be made or used any false bill, receipt, voucher, roll, account, claim, certificate, affidavit, or deposition, knowing the same to contain any fraudulent or fictitious statement or entry …\n\nIn 1934, the requirement of an intent to defraud was eliminated at the request of the Secretary of the Interior Harold Ickes, who wished to use the statute to enforce Section 9(c) of the National Industrial Recovery Act of 1933 (NIRA) against producers of \"hot oil\", oil produced in violation of production restrictions established pursuant to the NIRA, when , amended it to read:\n\n… or whoever, for the purpose of obtaining or aiding to obtain the payment or approval of such claim, or for the purpose and with the intent of cheating and swindling or defrauding the Government of the United States, or any department thereof, or any corporation in which the United States of America is a stockholder, shall knowingly and willfully falsify or conceal or cover up by any trick, scheme, or device a material fact, or make or cause to be made any false or fraudulent statements or representations, or make or use or cause to be made or used any false bill, receipt, voucher, roll, account, claim, certificate, affidavit, or deposition, knowing the same to contain any fraudulent or fictitious statement or entry, in any matter within the jurisdiction of any department or agency of the United States or of any corporation in which the United States of America is a stockholder …\n\nWhen Title 18 of the United States Code was adopted in 1948, the wording was further simplified and replaced with:\n\nWhoever, in any matter within the jurisdiction of any department or agency of the United States knowingly and willfully falsifies, conceals or covers up by any trick, scheme, or device a material fact, or makes any false, fictitious or fraudulent statements or representations, or makes or uses any false writing or document knowing the same to contain any false, fictitious or fraudulent statement or entry …\n\nSee also\n Mail and wire fraud\n Post-truth politics\n Alternative facts\n Veracity of statements by Donald Trump\n\nReferences \n\nUnited States federal criminal legislation\nCommunication of falsehoods\nUnited States federal obstruction of justice law\nFraud in the United States"
]
|
[
"Tarja Turunen",
"Reception and legacy",
"What can you tell me about her legacy?",
"Turunen's voice is described by critics as remarkably powerful and emotional. Sometimes it is stated that her voice is too trained or operatic for metal music,",
"What else is said about her voice?",
"but even critics who do not like classical voices admit that her voice suits the kind of metal songs she sings unusually well.",
"What type of style did she have?",
"operatic",
"Did anyone of note make any statements about her?",
"I don't know."
]
| C_e281527c954c4b71a70ba6465451662d_0 | Are there any other interesting aspects about this article? | 5 | Other than Tarja Turunen's legacy, Are there any other interesting aspects about her? | Tarja Turunen | Turunen's voice is described by critics as remarkably powerful and emotional. Sometimes it is stated that her voice is too trained or operatic for metal music, but even critics who do not like classical voices admit that her voice suits the kind of metal songs she sings unusually well. Until the end of their collaboration, Turunen's singing was a trademark of Nightwish. She was known as the face and voice of Nightwish while bandleader Holopainen was the soul. Turunen was seen as a key to Nightwish's success. She is respected by other musicians of the metal genre and is an influence on their work; for instance, Simone Simons of Epica names her as her inspiration to study classical music and apply that vocal style to a metal band. Turunen receives most of her media attention in Europe, especially in her home of Finland. In December 2003, she was invited by Finnish president Tarja Halonen to celebrate the Finnish Independence Day at the Presidential Palace together with other Finnish celebrities. The event is televised annually live by the state-owned broadcaster, the Finnish Broadcasting Company. In December 2007, she performed different versions of the Finnish national anthem "Maamme" (Finnish: "Our country") accompanied by the Tapiola Sinfonietta, to celebrate the 90th anniversary of Finnish independence. The concert was televised by the Finnish Broadcasting Company for 2 million Finnish viewers. In December 2013, Turunen was the invited soloist at the Christmas Peace event in the Turku Cathedral, Finland, with the presence of Finnish president Sauli Niinisto. The concert aired on Yle TV1 at the Christmas Eve. During her solo career, Turunen has sold over 100,000 certified records in Finland, which places her among the top 50 of best-selling female soloists. In Europe, her popularity is mainly limited to the hard rock and metal scene. She had a broader exposure on November 30, 2007, when she was invited to open the farewell fight of Regina Halmich. Her performance of "I Walk Alone" was televised live by the German television station ZDF for 8.8 million viewers. Turunen will be one of the star coaches in the fourth season of The Voice of Finland in the spring of 2015 on Nelonen. After the success of the 2015 edition of The Voice of Finland, Tarja was again chosen to be one of the star coaches for the 2016 edition. CANNOTANSWER | During her solo career, Turunen has sold over 100,000 certified records in Finland, which places her among the top 50 of best-selling female soloists. | Tarja Soile Susanna Turunen-Cabuli (born 17 August 1977), known professionally as Tarja Turunen or simply Tarja, is a Finnish heavy metal singer-songwriter. She is a soprano with a three and a half octave range.
Turunen studied singing at Sibelius Academy and Hochschule für Musik Karlsruhe. She is a professional classical lied singer, and the former lead vocalist of the Finnish symphonic metal band Nightwish, which she founded with Tuomas Holopainen and Emppu Vuorinen in 1996. Their combination of hard and fast guitar riffs with Turunen's dramatic, "operatic" lead vocals quickly achieved critical and commercial popularity. Their symphonic metal style, soon dubbed "opera metal", inspired many other metal bands and performers.
Turunen was dismissed from the band on 21 October 2005 (just after the performance of the band's End of an Era concert) for personal reasons. She started her solo career in 2006 with the release of a Christmas album called Henkäys ikuisuudesta. In 2007, Turunen released My Winter Storm, an album featuring various styles including symphonic metal, and started the Storm World Tour. She performed several concerts in Europe, playing in metal festivals including the Graspop Metal Meeting and the Wacken Open Air, before releasing her third album, What Lies Beneath, supported by a tour, which lasted until April 2012. Her first live DVD Act I was filmed during this tour on 30 and 31 March 2012 in Rosario, Argentina. Act I was released in August 2012. Turunen started the Colours in the Dark World Tour in October 2013 to promote her new album Colours in the Dark. Her second live DVD was filmed during the events of Beauty and the Beat and was released in May.
In September 2015, Tarja Turunen released her first classical studio album, Ave Maria – En Plein Air. In August 2016 she released The Shadow Self with a prequel EP The Brightest Void released on 3 June. Her latest album In the Raw, was released on 30 August 2019.
Life and career
1977–1995: Early life
Tarja Turunen was born in the small village of Puhos, near Kitee, Finland. She has an older brother, Timo, and a younger brother, Toni. Her mother Ritva Sisko Marjatta (Hakkarainen) worked in the town administration, and her father Teuvo Turunen is a carpenter. Her talent for music was first noted when she sang the song "Enkeli taivaan" (the Finnish version of "From Heaven Above to Earth I Come") in the Kitee church hall at age three. She joined the church choir and started taking vocal lessons. At age six, she started playing piano.
At comprehensive school, Turunen performed as a singer for several projects. Her first piano teacher Kirsti Nortia-Holopainen, "Tarja was in a school that had some very musical people. Even then she got to perform a lot. I think she sang in every school function there was." Her music teacher, Plamen Dimov, later explained that, "If you gave Tarja just one note, she immediately got it. With the others, you'd have to practice three, four, five times". At school she had a tough time, since some girls bullied her because they envied her voice. To solve that problem, Dimov organized projects outside school. At fifteen, Turunen had her first major appearance as a soloist at a church concert in front of a thousand listeners. In 1993 she attended the Senior Secondary School of Art and Music in Savonlinna.
For several years Turunen performed various songs including soul music by Whitney Houston and Aretha Franklin. Later she listened to songs from the classical crossover singer Sarah Brightman, especially the song "The Phantom of the Opera", and decided to focus on that genre of music. At eighteen, she moved to Kuopio to study at the Sibelius Academy.
1996–2005: Nightwish
In December 1996, former classmate Tuomas Holopainen invited Turunen to join his new acoustic mood music project, and she immediately agreed. At the recording session for the first demo Holopainen discovered that due to her classical singing lessons, Turunen's voice had become much more powerful than he recalled from their school days. At the following band practices, Emppu Vuorinen used an electric guitar instead of an acoustic guitar because he felt that it gave a better accompaniment to her voice. Holopainen later explained that the band members had gradually realised that Turunen's voice had become too dramatic for acoustic mood music and eventually came to the conclusion that the music had to be massive too. Hence Holopainen decided to form Nightwish as a metal band.
Nightwish recorded a second demo with "more bombastic, dramatic" songs in September 1997. Holopainen used this material to convince the Finnish label Spinefarm Records to publish the band's debut album, Angels Fall First. The success of the first album came as a surprise to the label. As the album hit the top 40 of the Finnish charts, Nightwish started their tour The First Tour of the Angels. That same year, Turunen performed at the Savonlinna Opera Festival for the first time, singing songs from Wagner and Verdi.
Due to her commitment to the band, Turunen was not able to concentrate sufficiently on her schoolwork and her academic studies were interrupted. In 1998, Nightwish published their second album, Oceanborn. This album lacked the earlier elements of folk and ambient music, and instead focused on fast, melodic keyboard and guitar lines and Turunen's dramatic voice. In addition to the Oceanborn Europe Tour (1999), Turunen sang solo in Waltari's rock-themed ballet Evankeliumi (also known as Evangelicum) in several sold-out performances at the Finnish National Opera. In 2000 and 2001, Nightwish recorded Wishmaster and Over the Hills and Far Away and toured Europe and South America (the Wishmaster World Tour). During the Wishmaster World Tour, Turunen met Argentine businessman Marcelo Cabuli whom she married in 2003.
Turunen enrolled in 2000 at the German music university Hochschule für Musik Karlsruhe to gain a professional qualification as a soloist with further specialization in art song. In addition to the good reputation of the university, Turunen chose to go to Karlsruhe because some people at the Finnish university did not take her seriously as a classical singer due to her commitment in a metal band. While there, she recorded vocals for Nightwish's 2002 album Century Child and for Beto Vázquez Infinity. As with the other albums, Holopainen wrote the pieces and sent Turunen the lyrics and a demo recording of the prerecorded instrumental tracks by mail. Using the demo, Turunen designed her vocal lines and the choral passages.
In 2002, Turunen toured South America, performing in the classical Lied concert Noche Escandinava (Scandinavian Night) to sold-out houses. Following this and an exhausting world tour in support of Century Child (the World Tour of the Century), Nightwish took a hiatus and Turunen returned to Karlsruhe to finish her studies. After the hiatus Nightwish recorded the album Once; it was released in May 2004. The album has sold platinum in Finland and Germany and was the best selling album in all of Europe in July 2004. The band performed in the supporting Once Upon a Tour throughout 2004 and 2005.
For Christmas 2004, Turunen released her first solo single, titled "Yhden enkelin unelma" (One Angel's Dream), which sold gold in her native country of Finland. At Christmas 2005 it made a reentry at position one in the Finnish Charts. In spring 2005 she prepared the duet "Leaving You for Me", a collaboration with Martin Kesici, accompanied by a video.
2005: Breakup
The first change in the line up of Nightwish was in September 2001, when bassist Sami Vänskä was fired because Holopainen was no longer able to continue working with him. In the following years the relationship between Holopainen and Turunen's husband and manager Marcelo Cabuli deteriorated. This affected the relationship between Holopainen and Turunen as well. At a band meeting after the concert in Oberhausen in December 2004 Turunen informed the band members that she wanted to leave the band, but agreed to record one more album and to participate in the subsequent tour, planned for 2006/2007. According to her husband, Turunen had further agreed not to make her decision public and to release her first solo album after the new studio album from Nightwish. After the last concert of the Once Upon a Tour on 21 October 2005 (which was released on video as End of an Era), Holopainen and the other band members informed Turunen in an open letter that the band did not want to work with her any more, accusing her of diva-like behaviour and greed:
The split and, due to the open letter's allegations, Turunen's character became the subject of close media coverage. Turunen responded through an open letter on her website and through some interviews in which she explained her view. She was upset that after nine years of working together, Holopainen announced the separation via an open letter. Because of the continuing media interest, Marcelo Cabuli posted a message addressing the situation on the website in February 2006. He asked that anyone who had questions should email him. In June 2006, Cabuli posted a lengthy reply to many of the questions he had received. He answered questions related to the greed accusation by explaining that the band had agreed on the distribution of earnings in a contract at the formation of Nightwish. Based on that contract, every band member got a fixed share of 20% of the band's income. Marcelo Cabuli stated that, unlike others, Turunen had never fought for additional songwriter royalties.
Despite the circumstances of the separation, Holopainen's appreciation of Turunen as an artist remained. He explained that he did not search for a similarly trained singer as a successor for Turunen because he considers her to be extraordinarily good in her genre and therefore irreplaceable. Turunen said in an interview that she is very proud of her career with Nightwish. She considers the remaining band members extremely talented and wishes all the best for them and their subsequent lead singer Anette Olzon.
2005–present: Independent career
At the end of 2005, Turunen performed several classical concerts in Finland, Germany, Spain, and Romania. Since she expected to participate in another Nightwish album, several concerts and the release of her Christmas album Henkäys ikuisuudesta (officially translated as Breath from Heaven) were the only activities scheduled for 2006. Turunen again played at the Savonlinna Opera Festival in July 2006, this time as the main act; she sang alongside Finnish tenor Raimo Sirkiä, supported by the Kuopio Symphonic Orchestra. Turunen performed classical arias like "O mio babbino caro" by Puccini, "Libiamo ne' lieti calici" by Verdi and some songs from Andrew Lloyd Webber—"Don't Cry for Me Argentina" and "Phantom of the Opera"—among other songs. In November she performed at the charity concert "Tomorrow's Child" with the Tapiola Choir as a benefit for the UNICEF Children's Fund. On 6 December 2006, Turunen performed a big concert at the Sibelius Hall in Lahti, Finland; it was broadcast live by the Finnish channel YLE TV2 for 450,000 viewers. She was nominated for the Finnish Emma Award as Best Soloist of 2006. The following year, Turunen recorded vocals for the track "In the Picture" on the Nuclear Blast All-stars album Into the Light.
In August 2006 she started to work on her next solo album, My Winter Storm, the beginning of her main solo project. It was the first time that Turunen had written songs. She was supported by some professional songwriters. The choir and orchestral arrangements were written by film music composer James Dooley. Turunen released My Winter Storm, an album featuring various styles, including symphonic metal with classical "operatic" lead vocals, in November 2007. The album took the number one spot on the Finnish charts, and went platinum in Finland double platinum in Russia and gold in Germany.
She was nominated for an Echo as best newcomer and an Emma for best Finnish artist. On 25 November 2007, Turunen embarked on the Storm World Tour to promote My Winter Storm. She performed 95 concerts throughout Europe, North and South America and ended the tour in October 2009 at the O2 Academy Islington in London. In December 2008, the EP The Seer was released in the UK and the new extended edition of My Winter Storm released in January 2009.
She also contributed three songs to the Finnish charity Christmas album Maailman kauneimmat joululaulut (Finnish for "The World's Most Beautiful Christmas Songs") released in November 2009. In December 2009 she recorded her vocal part for the song "The Good Die Young", a duet with Klaus Meine which is included on the final Scorpions album Sting in the Tail.
Turunen recorded her third album, What Lies Beneath, in 2009 and 2010; it was released in September 2010. The album combined metal with classical "operatic" elements in an out of the box approach. She started the What Lies Beneath World Tour performing in several festivals, including the Wacken Open Air and the Graspop Metal Meeting, with special concerts at Miskolc Opera Festival and at the Masters of Rock, when she performed accompanied by a full orchestra. The tour is scheduled to last until April 2012. Also in 2010 she supported Alice Cooper on the German leg of his Theatre of Death Tour. On 17 July 2011, she sang again at the Savonlinna Opera Festival along with José Cura and accompanied by the Kuopio Symphony Orchestra.
In March 2012, Turunen won the title "Europe's best crossover performer" with over 100,000 votes.
In May 2013, Turunen announced the title of her 4th solo album, Colours in the Dark, which was released on 30 August. On 31 May the song "Never Enough" was released as a teaser. Later this year, in September, it was revealed that Turunen would appear as guest vocalist on the title track and video of Within Temptation's EP Paradise, released on 27 September.
In January 2014, Turunen revealed through her blog that she would soon return to the studio and record vocals for a couple of songs for her Outlanders project together with Torsten Stenzel & Walter Giardino.
In May 2014, it was released the DVD Beauty and the Beat, providing live footage from 3 concerts as part of the Beauty and the Beat World Tour. The DVD shows Tarja performing live with a symphonic orchestra, choir and Mike Terrana on drums. Songs include Antonín Dvořák's "Song to the Moon" from Rusalka and Led Zeppelin's "Kashmir", and also a live version of the rarely performed song "Swanheart" from the 1998 Nightwish album Oceanborn. On the same year, in July, Left in the Dark was released as an EP containing alternative versions from Tarja's album Colours in the Dark, as well as a studio version of "Into the Sun".
On 17 October 2015, Tarja performed two new songs from her forthcoming album, "No Bitter End" and "Goldfinger", which is a cover of the title song of the James Bond film with the same name.
Tarja announced she is to release a new album in the summer of 2016. She explains that "she has been working hard once again with Tim Palmer to create the heaviest sound so far of her career for her fourth rock album". She also explained that the album will follow in the same footsteps as her other albums but with a new soul and growth. A teaser with a snippet of two songs was then released on her official YouTube channel. On 17 February 2016, Tarja also revealed the first letter of the album name to be T. On March 14, 2016, Tarja made public title and cover of her new album, The Shadow Self.
On April 7, Tarja announced the release, scheduled for June 3, of The Brightest Void, the "prequel" of The Shadow Self; The Brightest Void contains the song "No Bitter End", also included in The Shadow Self, the duet with Within Temptation "Paradise (What About Us?)" and several covers.
The Shadow Self was released on August 5, 2016. The lead single was the track "Innocence".
On November 17, 2017, Tarja released From Spirits and Ghosts (Score for a Dark Christmas), her second classical and Christmas album. With the album release comes also Tarja Turunen's first graphic novel, From Spirits and Ghosts (Novel for a Dark Christmas). The 40-page novel is about the world of dark Christmas scripted by Peter Rogers with accompanying art by Conor Boyle.
On July 27, 2018, Tarja released Act II, a live album and DVD recorded during the concert on November 29, 2016, at the Teatro della Luna in Milan, during the world tour The Shadow Shows.
On 30 August 2019, Tarja released In the Raw. For this album Tarja Turunen joined forces with other Heavy Metal vocalists such as Björn Strid, Tommy Karevik, and Cristina Scabbia, thus including in the album vocal collaborations with them.
On 19 June 2021, Tarja annouced the release of a book in October 2021, Singing in My Blood in which the book would share the story of her life in music.
At the end of 2021, Tarja launched the ten-year project called Outlanders which combines her vocals with electronic beats, and featuring guest artists such as Yes guitarist Trevor Rabin and jazz guitarist Al Di Meola.
Singing style
Development
Along with visiting the music school in Savonlinna, Turunen began serious classical vocal training at 17. After school, she began studying music (with a specialization in church music) at the Sibelius Academy. Due to her commitment with Nightwish, she had to interrupt her academic studies.
From 2001 to 2003, she studied at the music academy Hochschule für Musik Karlsruhe, where she trained as a soloist with further specialization in art songs. Turunen originally applied to train as a choir singer. At the audition she attracted the attention of professor Mitsuko Shirai, who encouraged Turunen to apply for soloist training.
As a classical singer, Turunen sings with classical vocal technique. She explained that in the early days of Nightwish, it was difficult to combine classical technique with the metal sound in a way that gave her liberty of action without damaging her vocal cords. Classical techniques helped her to play with her voice, so she decided not to pursue extra training in rock/pop singing.
Towards the turn of the millennium, the combination of hard and fast guitar riffs with classical female lead vocals attracted a great deal of attention in the metal scene. The new music style of Nightwish quickly achieved critical and commercial popularity; this symphonic metal style was soon dubbed "opera metal". Turunen does not see herself as an opera singer. She has sung excerpts from operas at the Savonlinna Opera Festival, but she stresses that singing opera cannot be performed as a side project. She would need special training to perfectly sing an entire opera without a microphone.
When asked how the association between the opera and metal genres may have arisen, Turunen said that despite the obvious differences, the two music styles have some similarities:
From the first Nightwish album Angels Fall First (1997) on, critics described Turunen's vocals using adjectives such as angelic or valkyrian. The Valkyrie image was later fostered by the second video for the single "Sleeping Sun" in which Turunen walks on a battlefield as if she were guiding the dead warriors.
On the following albums the singing was technically more complex. On the Nightwish album Oceanborn (1998), her classical vocal training was much more noticeable. For the song "Passion and the Opera", Turunen performed a staccato coloratura reminiscent of the aria "Hell's vengeance boils in my heart", sung by the soprano role Queen of the Night in Mozart's opera The Magic Flute. "Sleeping Sun" required a well-trained breathing technique. Turunen explained in an interview that when they recorded Oceanborn, she had serious doubts, fearing that she was not yet advanced enough in her studies to have mastered the required techniques.
A challenge of a different kind was the cover version of Gary Moore's "Over the Hills and Far Away" (2001), as it required a deeper voice, far below the vocal range of an average soprano. In an interview with Breakout magazine, she reported that in the studio, the band members were shaken by a paroxysm of laughter as she tried to warm up for the vocal lines. As a side benefit of her efforts, Turunen gradually expanded her vocal range considerably into the lower range, which manifested even more on the following albums.
For the album Century Child (2002), she experimented with a more "rock" sounding voice, where she maintained the classical singing technique, but, for example, sang with less vibrato. Turunen was not satisfied that she had successfully transitioned to this new style until the album Once (2004).
This deeper "rock"-sounding voice on Once—as well as on the song "In the Picture" of the album Into the Light—was welcomed by critics as a refreshing change.
Her first solo album My Winter Storm (2007) contains rock and metal songs as well as songs that resemble classical songs. Turunen uses both her classical singing voice and a rock-sounding voice. In many songs she starts with a rock voice, and then switches for widely arching melodies into a distinctly classical singing voice.
In an interview, she explained that My Winter Storm was the first album where she had the chance to use her full vocal range.
In the album Colours in the Dark she used her speaking voice for the first time in many years.
Register
Turunen's voice type is soprano. Over the course of her career, Turunen has developed a vocal range of three octaves.
Her range is apparent on her album My Winter Storm, where the lowest note sung is F3 in the song "The Seer", while in another song, she aimed for D6.
Reception and legacy
Turunen's voice is described by critics as remarkably powerful and emotional. Sometimes it is stated that her voice is too trained or operatic for metal music, but even critics who do not like classical voices admit that her voice suits the kind of metal songs she sings unusually well.
Until the end of their collaboration, Turunen's singing was a trademark of Nightwish. She was known as the face and voice of Nightwish while bandleader Holopainen was the soul. Turunen was seen as a key to Nightwish's success. She is respected by other musicians of the metal genre and is an influence on their work; for instance, Simone Simons of Epica names her as her inspiration to study classical music and apply that vocal style to a metal band.
Turunen receives most of her media attention in Europe, especially in her home of Finland. In December 2003, she was invited by Finnish president Tarja Halonen to celebrate Finnish Independence Day at the Presidential Palace together with other Finnish celebrities. The event is televised annually live by the state-owned broadcaster, the Finnish Broadcasting Company. In December 2007, she performed different versions of the Finnish national anthem "Maamme" (Finnish: "Our country") accompanied by the Tapiola Sinfonietta, to celebrate the 90th anniversary of Finnish independence. The concert was televised by the Finnish Broadcasting Company for 2 million Finnish viewers. In December 2013, Turunen was the invited soloist at the Christmas Peace event in the Turku Cathedral, Finland, with the presence of Finnish president Sauli Niinistö. The concert aired on Yle TV1 at the Christmas Eve. During her solo career, Turunen has sold over 100,000 certified records in Finland, which places her among the top 50 of best-selling female soloists.
In Europe, her popularity is mainly limited to the hard rock and metal scene. She had a broader exposure on 30 November 2007, when she was invited to open the farewell fight of Regina Halmich. Her performance of "I Walk Alone" was televised live by the German television station ZDF for 8.8 million viewers. Turunen was one of the star coaches in the fourth season of The Voice of Finland in the spring of 2015 on Nelonen. After the success of the 2015 edition of The Voice of Finland, Tarja was again chosen to be one of the star coaches for the 2016 edition. In 2016 in honor of the Day of the Finnish Identity, celebrated on May 12, Finland published a new set of official emojis, which symbolizes Finnish culture and history - among other iconic Finnish imagery there were music related emojis, including Tarja Turunen as "The Voice".
Personal life
Turunen married Argentine businessman Marcelo Cabuli on 31 December 2002 – their wedding was celebrated in July 2003; they lived in Buenos Aires with their daughter who was born in 2012. In an interview Tarja explained that in 2016 they had plans to move back to Europe due to her touring schedule and that their daughter was starting school in the coming year. She currently lives in the south of Spain (Andalusia). In October 2021, she revealed that she had a stroke three years earlier after a U.S. tour.
Discography
Solo career
Henkäys ikuisuudesta (2006, Christmas Album)
My Winter Storm (2007)
What Lies Beneath (2010)
Colours in the Dark (2013)
Ave Maria – En Plein Air (2015, Classical album)
The Shadow Self (2016)
From Spirits and Ghosts (2017, Christmas Album)
In the Raw (2019)
Outlanders (2021–present)
With Nightwish
Angels Fall First (1997)
Oceanborn (1998)
Wishmaster (2000)
Over the Hills and Far Away (2001)
Century Child (2002)
Once (2004)
Notes
References
External links
Tarja's Official Website
Colours in the Dark Blog
Beauty and the Beat Official Website
Tarja Turunen, Interview: "Music Has Been My Driving Force" October 28, 2011
1977 births
Living people
People from Kitee
Finnish emigrants to Argentina
Women heavy metal singers
Finnish heavy metal singers
Finnish Lutherans
Finnish women singer-songwriters
Finnish sopranos
Women composers
Nightwish members
Hochschule für Musik Karlsruhe alumni
English-language singers from Finland
Finnish expatriates in Spain
Finnish Karelian people
Singers with a three-octave vocal range | 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"
]
|
[
"Tarja Turunen",
"Reception and legacy",
"What can you tell me about her legacy?",
"Turunen's voice is described by critics as remarkably powerful and emotional. Sometimes it is stated that her voice is too trained or operatic for metal music,",
"What else is said about her voice?",
"but even critics who do not like classical voices admit that her voice suits the kind of metal songs she sings unusually well.",
"What type of style did she have?",
"operatic",
"Did anyone of note make any statements about her?",
"I don't know.",
"Are there any other interesting aspects about this article?",
"During her solo career, Turunen has sold over 100,000 certified records in Finland, which places her among the top 50 of best-selling female soloists."
]
| C_e281527c954c4b71a70ba6465451662d_0 | Did she win any awards? | 6 | Did Tarja Turunen win any awards? | Tarja Turunen | Turunen's voice is described by critics as remarkably powerful and emotional. Sometimes it is stated that her voice is too trained or operatic for metal music, but even critics who do not like classical voices admit that her voice suits the kind of metal songs she sings unusually well. Until the end of their collaboration, Turunen's singing was a trademark of Nightwish. She was known as the face and voice of Nightwish while bandleader Holopainen was the soul. Turunen was seen as a key to Nightwish's success. She is respected by other musicians of the metal genre and is an influence on their work; for instance, Simone Simons of Epica names her as her inspiration to study classical music and apply that vocal style to a metal band. Turunen receives most of her media attention in Europe, especially in her home of Finland. In December 2003, she was invited by Finnish president Tarja Halonen to celebrate the Finnish Independence Day at the Presidential Palace together with other Finnish celebrities. The event is televised annually live by the state-owned broadcaster, the Finnish Broadcasting Company. In December 2007, she performed different versions of the Finnish national anthem "Maamme" (Finnish: "Our country") accompanied by the Tapiola Sinfonietta, to celebrate the 90th anniversary of Finnish independence. The concert was televised by the Finnish Broadcasting Company for 2 million Finnish viewers. In December 2013, Turunen was the invited soloist at the Christmas Peace event in the Turku Cathedral, Finland, with the presence of Finnish president Sauli Niinisto. The concert aired on Yle TV1 at the Christmas Eve. During her solo career, Turunen has sold over 100,000 certified records in Finland, which places her among the top 50 of best-selling female soloists. In Europe, her popularity is mainly limited to the hard rock and metal scene. She had a broader exposure on November 30, 2007, when she was invited to open the farewell fight of Regina Halmich. Her performance of "I Walk Alone" was televised live by the German television station ZDF for 8.8 million viewers. Turunen will be one of the star coaches in the fourth season of The Voice of Finland in the spring of 2015 on Nelonen. After the success of the 2015 edition of The Voice of Finland, Tarja was again chosen to be one of the star coaches for the 2016 edition. CANNOTANSWER | she was invited by Finnish president Tarja Halonen to celebrate the Finnish Independence Day at the Presidential Palace together with other Finnish celebrities. | Tarja Soile Susanna Turunen-Cabuli (born 17 August 1977), known professionally as Tarja Turunen or simply Tarja, is a Finnish heavy metal singer-songwriter. She is a soprano with a three and a half octave range.
Turunen studied singing at Sibelius Academy and Hochschule für Musik Karlsruhe. She is a professional classical lied singer, and the former lead vocalist of the Finnish symphonic metal band Nightwish, which she founded with Tuomas Holopainen and Emppu Vuorinen in 1996. Their combination of hard and fast guitar riffs with Turunen's dramatic, "operatic" lead vocals quickly achieved critical and commercial popularity. Their symphonic metal style, soon dubbed "opera metal", inspired many other metal bands and performers.
Turunen was dismissed from the band on 21 October 2005 (just after the performance of the band's End of an Era concert) for personal reasons. She started her solo career in 2006 with the release of a Christmas album called Henkäys ikuisuudesta. In 2007, Turunen released My Winter Storm, an album featuring various styles including symphonic metal, and started the Storm World Tour. She performed several concerts in Europe, playing in metal festivals including the Graspop Metal Meeting and the Wacken Open Air, before releasing her third album, What Lies Beneath, supported by a tour, which lasted until April 2012. Her first live DVD Act I was filmed during this tour on 30 and 31 March 2012 in Rosario, Argentina. Act I was released in August 2012. Turunen started the Colours in the Dark World Tour in October 2013 to promote her new album Colours in the Dark. Her second live DVD was filmed during the events of Beauty and the Beat and was released in May.
In September 2015, Tarja Turunen released her first classical studio album, Ave Maria – En Plein Air. In August 2016 she released The Shadow Self with a prequel EP The Brightest Void released on 3 June. Her latest album In the Raw, was released on 30 August 2019.
Life and career
1977–1995: Early life
Tarja Turunen was born in the small village of Puhos, near Kitee, Finland. She has an older brother, Timo, and a younger brother, Toni. Her mother Ritva Sisko Marjatta (Hakkarainen) worked in the town administration, and her father Teuvo Turunen is a carpenter. Her talent for music was first noted when she sang the song "Enkeli taivaan" (the Finnish version of "From Heaven Above to Earth I Come") in the Kitee church hall at age three. She joined the church choir and started taking vocal lessons. At age six, she started playing piano.
At comprehensive school, Turunen performed as a singer for several projects. Her first piano teacher Kirsti Nortia-Holopainen, "Tarja was in a school that had some very musical people. Even then she got to perform a lot. I think she sang in every school function there was." Her music teacher, Plamen Dimov, later explained that, "If you gave Tarja just one note, she immediately got it. With the others, you'd have to practice three, four, five times". At school she had a tough time, since some girls bullied her because they envied her voice. To solve that problem, Dimov organized projects outside school. At fifteen, Turunen had her first major appearance as a soloist at a church concert in front of a thousand listeners. In 1993 she attended the Senior Secondary School of Art and Music in Savonlinna.
For several years Turunen performed various songs including soul music by Whitney Houston and Aretha Franklin. Later she listened to songs from the classical crossover singer Sarah Brightman, especially the song "The Phantom of the Opera", and decided to focus on that genre of music. At eighteen, she moved to Kuopio to study at the Sibelius Academy.
1996–2005: Nightwish
In December 1996, former classmate Tuomas Holopainen invited Turunen to join his new acoustic mood music project, and she immediately agreed. At the recording session for the first demo Holopainen discovered that due to her classical singing lessons, Turunen's voice had become much more powerful than he recalled from their school days. At the following band practices, Emppu Vuorinen used an electric guitar instead of an acoustic guitar because he felt that it gave a better accompaniment to her voice. Holopainen later explained that the band members had gradually realised that Turunen's voice had become too dramatic for acoustic mood music and eventually came to the conclusion that the music had to be massive too. Hence Holopainen decided to form Nightwish as a metal band.
Nightwish recorded a second demo with "more bombastic, dramatic" songs in September 1997. Holopainen used this material to convince the Finnish label Spinefarm Records to publish the band's debut album, Angels Fall First. The success of the first album came as a surprise to the label. As the album hit the top 40 of the Finnish charts, Nightwish started their tour The First Tour of the Angels. That same year, Turunen performed at the Savonlinna Opera Festival for the first time, singing songs from Wagner and Verdi.
Due to her commitment to the band, Turunen was not able to concentrate sufficiently on her schoolwork and her academic studies were interrupted. In 1998, Nightwish published their second album, Oceanborn. This album lacked the earlier elements of folk and ambient music, and instead focused on fast, melodic keyboard and guitar lines and Turunen's dramatic voice. In addition to the Oceanborn Europe Tour (1999), Turunen sang solo in Waltari's rock-themed ballet Evankeliumi (also known as Evangelicum) in several sold-out performances at the Finnish National Opera. In 2000 and 2001, Nightwish recorded Wishmaster and Over the Hills and Far Away and toured Europe and South America (the Wishmaster World Tour). During the Wishmaster World Tour, Turunen met Argentine businessman Marcelo Cabuli whom she married in 2003.
Turunen enrolled in 2000 at the German music university Hochschule für Musik Karlsruhe to gain a professional qualification as a soloist with further specialization in art song. In addition to the good reputation of the university, Turunen chose to go to Karlsruhe because some people at the Finnish university did not take her seriously as a classical singer due to her commitment in a metal band. While there, she recorded vocals for Nightwish's 2002 album Century Child and for Beto Vázquez Infinity. As with the other albums, Holopainen wrote the pieces and sent Turunen the lyrics and a demo recording of the prerecorded instrumental tracks by mail. Using the demo, Turunen designed her vocal lines and the choral passages.
In 2002, Turunen toured South America, performing in the classical Lied concert Noche Escandinava (Scandinavian Night) to sold-out houses. Following this and an exhausting world tour in support of Century Child (the World Tour of the Century), Nightwish took a hiatus and Turunen returned to Karlsruhe to finish her studies. After the hiatus Nightwish recorded the album Once; it was released in May 2004. The album has sold platinum in Finland and Germany and was the best selling album in all of Europe in July 2004. The band performed in the supporting Once Upon a Tour throughout 2004 and 2005.
For Christmas 2004, Turunen released her first solo single, titled "Yhden enkelin unelma" (One Angel's Dream), which sold gold in her native country of Finland. At Christmas 2005 it made a reentry at position one in the Finnish Charts. In spring 2005 she prepared the duet "Leaving You for Me", a collaboration with Martin Kesici, accompanied by a video.
2005: Breakup
The first change in the line up of Nightwish was in September 2001, when bassist Sami Vänskä was fired because Holopainen was no longer able to continue working with him. In the following years the relationship between Holopainen and Turunen's husband and manager Marcelo Cabuli deteriorated. This affected the relationship between Holopainen and Turunen as well. At a band meeting after the concert in Oberhausen in December 2004 Turunen informed the band members that she wanted to leave the band, but agreed to record one more album and to participate in the subsequent tour, planned for 2006/2007. According to her husband, Turunen had further agreed not to make her decision public and to release her first solo album after the new studio album from Nightwish. After the last concert of the Once Upon a Tour on 21 October 2005 (which was released on video as End of an Era), Holopainen and the other band members informed Turunen in an open letter that the band did not want to work with her any more, accusing her of diva-like behaviour and greed:
The split and, due to the open letter's allegations, Turunen's character became the subject of close media coverage. Turunen responded through an open letter on her website and through some interviews in which she explained her view. She was upset that after nine years of working together, Holopainen announced the separation via an open letter. Because of the continuing media interest, Marcelo Cabuli posted a message addressing the situation on the website in February 2006. He asked that anyone who had questions should email him. In June 2006, Cabuli posted a lengthy reply to many of the questions he had received. He answered questions related to the greed accusation by explaining that the band had agreed on the distribution of earnings in a contract at the formation of Nightwish. Based on that contract, every band member got a fixed share of 20% of the band's income. Marcelo Cabuli stated that, unlike others, Turunen had never fought for additional songwriter royalties.
Despite the circumstances of the separation, Holopainen's appreciation of Turunen as an artist remained. He explained that he did not search for a similarly trained singer as a successor for Turunen because he considers her to be extraordinarily good in her genre and therefore irreplaceable. Turunen said in an interview that she is very proud of her career with Nightwish. She considers the remaining band members extremely talented and wishes all the best for them and their subsequent lead singer Anette Olzon.
2005–present: Independent career
At the end of 2005, Turunen performed several classical concerts in Finland, Germany, Spain, and Romania. Since she expected to participate in another Nightwish album, several concerts and the release of her Christmas album Henkäys ikuisuudesta (officially translated as Breath from Heaven) were the only activities scheduled for 2006. Turunen again played at the Savonlinna Opera Festival in July 2006, this time as the main act; she sang alongside Finnish tenor Raimo Sirkiä, supported by the Kuopio Symphonic Orchestra. Turunen performed classical arias like "O mio babbino caro" by Puccini, "Libiamo ne' lieti calici" by Verdi and some songs from Andrew Lloyd Webber—"Don't Cry for Me Argentina" and "Phantom of the Opera"—among other songs. In November she performed at the charity concert "Tomorrow's Child" with the Tapiola Choir as a benefit for the UNICEF Children's Fund. On 6 December 2006, Turunen performed a big concert at the Sibelius Hall in Lahti, Finland; it was broadcast live by the Finnish channel YLE TV2 for 450,000 viewers. She was nominated for the Finnish Emma Award as Best Soloist of 2006. The following year, Turunen recorded vocals for the track "In the Picture" on the Nuclear Blast All-stars album Into the Light.
In August 2006 she started to work on her next solo album, My Winter Storm, the beginning of her main solo project. It was the first time that Turunen had written songs. She was supported by some professional songwriters. The choir and orchestral arrangements were written by film music composer James Dooley. Turunen released My Winter Storm, an album featuring various styles, including symphonic metal with classical "operatic" lead vocals, in November 2007. The album took the number one spot on the Finnish charts, and went platinum in Finland double platinum in Russia and gold in Germany.
She was nominated for an Echo as best newcomer and an Emma for best Finnish artist. On 25 November 2007, Turunen embarked on the Storm World Tour to promote My Winter Storm. She performed 95 concerts throughout Europe, North and South America and ended the tour in October 2009 at the O2 Academy Islington in London. In December 2008, the EP The Seer was released in the UK and the new extended edition of My Winter Storm released in January 2009.
She also contributed three songs to the Finnish charity Christmas album Maailman kauneimmat joululaulut (Finnish for "The World's Most Beautiful Christmas Songs") released in November 2009. In December 2009 she recorded her vocal part for the song "The Good Die Young", a duet with Klaus Meine which is included on the final Scorpions album Sting in the Tail.
Turunen recorded her third album, What Lies Beneath, in 2009 and 2010; it was released in September 2010. The album combined metal with classical "operatic" elements in an out of the box approach. She started the What Lies Beneath World Tour performing in several festivals, including the Wacken Open Air and the Graspop Metal Meeting, with special concerts at Miskolc Opera Festival and at the Masters of Rock, when she performed accompanied by a full orchestra. The tour is scheduled to last until April 2012. Also in 2010 she supported Alice Cooper on the German leg of his Theatre of Death Tour. On 17 July 2011, she sang again at the Savonlinna Opera Festival along with José Cura and accompanied by the Kuopio Symphony Orchestra.
In March 2012, Turunen won the title "Europe's best crossover performer" with over 100,000 votes.
In May 2013, Turunen announced the title of her 4th solo album, Colours in the Dark, which was released on 30 August. On 31 May the song "Never Enough" was released as a teaser. Later this year, in September, it was revealed that Turunen would appear as guest vocalist on the title track and video of Within Temptation's EP Paradise, released on 27 September.
In January 2014, Turunen revealed through her blog that she would soon return to the studio and record vocals for a couple of songs for her Outlanders project together with Torsten Stenzel & Walter Giardino.
In May 2014, it was released the DVD Beauty and the Beat, providing live footage from 3 concerts as part of the Beauty and the Beat World Tour. The DVD shows Tarja performing live with a symphonic orchestra, choir and Mike Terrana on drums. Songs include Antonín Dvořák's "Song to the Moon" from Rusalka and Led Zeppelin's "Kashmir", and also a live version of the rarely performed song "Swanheart" from the 1998 Nightwish album Oceanborn. On the same year, in July, Left in the Dark was released as an EP containing alternative versions from Tarja's album Colours in the Dark, as well as a studio version of "Into the Sun".
On 17 October 2015, Tarja performed two new songs from her forthcoming album, "No Bitter End" and "Goldfinger", which is a cover of the title song of the James Bond film with the same name.
Tarja announced she is to release a new album in the summer of 2016. She explains that "she has been working hard once again with Tim Palmer to create the heaviest sound so far of her career for her fourth rock album". She also explained that the album will follow in the same footsteps as her other albums but with a new soul and growth. A teaser with a snippet of two songs was then released on her official YouTube channel. On 17 February 2016, Tarja also revealed the first letter of the album name to be T. On March 14, 2016, Tarja made public title and cover of her new album, The Shadow Self.
On April 7, Tarja announced the release, scheduled for June 3, of The Brightest Void, the "prequel" of The Shadow Self; The Brightest Void contains the song "No Bitter End", also included in The Shadow Self, the duet with Within Temptation "Paradise (What About Us?)" and several covers.
The Shadow Self was released on August 5, 2016. The lead single was the track "Innocence".
On November 17, 2017, Tarja released From Spirits and Ghosts (Score for a Dark Christmas), her second classical and Christmas album. With the album release comes also Tarja Turunen's first graphic novel, From Spirits and Ghosts (Novel for a Dark Christmas). The 40-page novel is about the world of dark Christmas scripted by Peter Rogers with accompanying art by Conor Boyle.
On July 27, 2018, Tarja released Act II, a live album and DVD recorded during the concert on November 29, 2016, at the Teatro della Luna in Milan, during the world tour The Shadow Shows.
On 30 August 2019, Tarja released In the Raw. For this album Tarja Turunen joined forces with other Heavy Metal vocalists such as Björn Strid, Tommy Karevik, and Cristina Scabbia, thus including in the album vocal collaborations with them.
On 19 June 2021, Tarja annouced the release of a book in October 2021, Singing in My Blood in which the book would share the story of her life in music.
At the end of 2021, Tarja launched the ten-year project called Outlanders which combines her vocals with electronic beats, and featuring guest artists such as Yes guitarist Trevor Rabin and jazz guitarist Al Di Meola.
Singing style
Development
Along with visiting the music school in Savonlinna, Turunen began serious classical vocal training at 17. After school, she began studying music (with a specialization in church music) at the Sibelius Academy. Due to her commitment with Nightwish, she had to interrupt her academic studies.
From 2001 to 2003, she studied at the music academy Hochschule für Musik Karlsruhe, where she trained as a soloist with further specialization in art songs. Turunen originally applied to train as a choir singer. At the audition she attracted the attention of professor Mitsuko Shirai, who encouraged Turunen to apply for soloist training.
As a classical singer, Turunen sings with classical vocal technique. She explained that in the early days of Nightwish, it was difficult to combine classical technique with the metal sound in a way that gave her liberty of action without damaging her vocal cords. Classical techniques helped her to play with her voice, so she decided not to pursue extra training in rock/pop singing.
Towards the turn of the millennium, the combination of hard and fast guitar riffs with classical female lead vocals attracted a great deal of attention in the metal scene. The new music style of Nightwish quickly achieved critical and commercial popularity; this symphonic metal style was soon dubbed "opera metal". Turunen does not see herself as an opera singer. She has sung excerpts from operas at the Savonlinna Opera Festival, but she stresses that singing opera cannot be performed as a side project. She would need special training to perfectly sing an entire opera without a microphone.
When asked how the association between the opera and metal genres may have arisen, Turunen said that despite the obvious differences, the two music styles have some similarities:
From the first Nightwish album Angels Fall First (1997) on, critics described Turunen's vocals using adjectives such as angelic or valkyrian. The Valkyrie image was later fostered by the second video for the single "Sleeping Sun" in which Turunen walks on a battlefield as if she were guiding the dead warriors.
On the following albums the singing was technically more complex. On the Nightwish album Oceanborn (1998), her classical vocal training was much more noticeable. For the song "Passion and the Opera", Turunen performed a staccato coloratura reminiscent of the aria "Hell's vengeance boils in my heart", sung by the soprano role Queen of the Night in Mozart's opera The Magic Flute. "Sleeping Sun" required a well-trained breathing technique. Turunen explained in an interview that when they recorded Oceanborn, she had serious doubts, fearing that she was not yet advanced enough in her studies to have mastered the required techniques.
A challenge of a different kind was the cover version of Gary Moore's "Over the Hills and Far Away" (2001), as it required a deeper voice, far below the vocal range of an average soprano. In an interview with Breakout magazine, she reported that in the studio, the band members were shaken by a paroxysm of laughter as she tried to warm up for the vocal lines. As a side benefit of her efforts, Turunen gradually expanded her vocal range considerably into the lower range, which manifested even more on the following albums.
For the album Century Child (2002), she experimented with a more "rock" sounding voice, where she maintained the classical singing technique, but, for example, sang with less vibrato. Turunen was not satisfied that she had successfully transitioned to this new style until the album Once (2004).
This deeper "rock"-sounding voice on Once—as well as on the song "In the Picture" of the album Into the Light—was welcomed by critics as a refreshing change.
Her first solo album My Winter Storm (2007) contains rock and metal songs as well as songs that resemble classical songs. Turunen uses both her classical singing voice and a rock-sounding voice. In many songs she starts with a rock voice, and then switches for widely arching melodies into a distinctly classical singing voice.
In an interview, she explained that My Winter Storm was the first album where she had the chance to use her full vocal range.
In the album Colours in the Dark she used her speaking voice for the first time in many years.
Register
Turunen's voice type is soprano. Over the course of her career, Turunen has developed a vocal range of three octaves.
Her range is apparent on her album My Winter Storm, where the lowest note sung is F3 in the song "The Seer", while in another song, she aimed for D6.
Reception and legacy
Turunen's voice is described by critics as remarkably powerful and emotional. Sometimes it is stated that her voice is too trained or operatic for metal music, but even critics who do not like classical voices admit that her voice suits the kind of metal songs she sings unusually well.
Until the end of their collaboration, Turunen's singing was a trademark of Nightwish. She was known as the face and voice of Nightwish while bandleader Holopainen was the soul. Turunen was seen as a key to Nightwish's success. She is respected by other musicians of the metal genre and is an influence on their work; for instance, Simone Simons of Epica names her as her inspiration to study classical music and apply that vocal style to a metal band.
Turunen receives most of her media attention in Europe, especially in her home of Finland. In December 2003, she was invited by Finnish president Tarja Halonen to celebrate Finnish Independence Day at the Presidential Palace together with other Finnish celebrities. The event is televised annually live by the state-owned broadcaster, the Finnish Broadcasting Company. In December 2007, she performed different versions of the Finnish national anthem "Maamme" (Finnish: "Our country") accompanied by the Tapiola Sinfonietta, to celebrate the 90th anniversary of Finnish independence. The concert was televised by the Finnish Broadcasting Company for 2 million Finnish viewers. In December 2013, Turunen was the invited soloist at the Christmas Peace event in the Turku Cathedral, Finland, with the presence of Finnish president Sauli Niinistö. The concert aired on Yle TV1 at the Christmas Eve. During her solo career, Turunen has sold over 100,000 certified records in Finland, which places her among the top 50 of best-selling female soloists.
In Europe, her popularity is mainly limited to the hard rock and metal scene. She had a broader exposure on 30 November 2007, when she was invited to open the farewell fight of Regina Halmich. Her performance of "I Walk Alone" was televised live by the German television station ZDF for 8.8 million viewers. Turunen was one of the star coaches in the fourth season of The Voice of Finland in the spring of 2015 on Nelonen. After the success of the 2015 edition of The Voice of Finland, Tarja was again chosen to be one of the star coaches for the 2016 edition. In 2016 in honor of the Day of the Finnish Identity, celebrated on May 12, Finland published a new set of official emojis, which symbolizes Finnish culture and history - among other iconic Finnish imagery there were music related emojis, including Tarja Turunen as "The Voice".
Personal life
Turunen married Argentine businessman Marcelo Cabuli on 31 December 2002 – their wedding was celebrated in July 2003; they lived in Buenos Aires with their daughter who was born in 2012. In an interview Tarja explained that in 2016 they had plans to move back to Europe due to her touring schedule and that their daughter was starting school in the coming year. She currently lives in the south of Spain (Andalusia). In October 2021, she revealed that she had a stroke three years earlier after a U.S. tour.
Discography
Solo career
Henkäys ikuisuudesta (2006, Christmas Album)
My Winter Storm (2007)
What Lies Beneath (2010)
Colours in the Dark (2013)
Ave Maria – En Plein Air (2015, Classical album)
The Shadow Self (2016)
From Spirits and Ghosts (2017, Christmas Album)
In the Raw (2019)
Outlanders (2021–present)
With Nightwish
Angels Fall First (1997)
Oceanborn (1998)
Wishmaster (2000)
Over the Hills and Far Away (2001)
Century Child (2002)
Once (2004)
Notes
References
External links
Tarja's Official Website
Colours in the Dark Blog
Beauty and the Beat Official Website
Tarja Turunen, Interview: "Music Has Been My Driving Force" October 28, 2011
1977 births
Living people
People from Kitee
Finnish emigrants to Argentina
Women heavy metal singers
Finnish heavy metal singers
Finnish Lutherans
Finnish women singer-songwriters
Finnish sopranos
Women composers
Nightwish members
Hochschule für Musik Karlsruhe alumni
English-language singers from Finland
Finnish expatriates in Spain
Finnish Karelian people
Singers with a three-octave vocal range | false | [
"Nena Danevic is a film editor who was nominated at the 57th Academy Awards for Best Film Editing. She was nominated for Amadeus. She shared her nomination with Michael Chandler.\n\nShe did win at the 39th British Academy Film Awards for Best Editing. Also for Amadeus with Michael Chandler.\n\nShe also won at the American Cinema Editors awards.\n\nReferences\n\nExternal links\n \n\nBest Editing BAFTA Award winners\nFilm editors\nPossibly living people\nYear of birth missing (living people)",
"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)"
]
|
[
"Tarja Turunen",
"Reception and legacy",
"What can you tell me about her legacy?",
"Turunen's voice is described by critics as remarkably powerful and emotional. Sometimes it is stated that her voice is too trained or operatic for metal music,",
"What else is said about her voice?",
"but even critics who do not like classical voices admit that her voice suits the kind of metal songs she sings unusually well.",
"What type of style did she have?",
"operatic",
"Did anyone of note make any statements about her?",
"I don't know.",
"Are there any other interesting aspects about this article?",
"During her solo career, Turunen has sold over 100,000 certified records in Finland, which places her among the top 50 of best-selling female soloists.",
"Did she win any awards?",
"she was invited by Finnish president Tarja Halonen to celebrate the Finnish Independence Day at the Presidential Palace together with other Finnish celebrities."
]
| C_e281527c954c4b71a70ba6465451662d_0 | Did she perform at any events? | 7 | Did Tarja Turunen perform at any events? | Tarja Turunen | Turunen's voice is described by critics as remarkably powerful and emotional. Sometimes it is stated that her voice is too trained or operatic for metal music, but even critics who do not like classical voices admit that her voice suits the kind of metal songs she sings unusually well. Until the end of their collaboration, Turunen's singing was a trademark of Nightwish. She was known as the face and voice of Nightwish while bandleader Holopainen was the soul. Turunen was seen as a key to Nightwish's success. She is respected by other musicians of the metal genre and is an influence on their work; for instance, Simone Simons of Epica names her as her inspiration to study classical music and apply that vocal style to a metal band. Turunen receives most of her media attention in Europe, especially in her home of Finland. In December 2003, she was invited by Finnish president Tarja Halonen to celebrate the Finnish Independence Day at the Presidential Palace together with other Finnish celebrities. The event is televised annually live by the state-owned broadcaster, the Finnish Broadcasting Company. In December 2007, she performed different versions of the Finnish national anthem "Maamme" (Finnish: "Our country") accompanied by the Tapiola Sinfonietta, to celebrate the 90th anniversary of Finnish independence. The concert was televised by the Finnish Broadcasting Company for 2 million Finnish viewers. In December 2013, Turunen was the invited soloist at the Christmas Peace event in the Turku Cathedral, Finland, with the presence of Finnish president Sauli Niinisto. The concert aired on Yle TV1 at the Christmas Eve. During her solo career, Turunen has sold over 100,000 certified records in Finland, which places her among the top 50 of best-selling female soloists. In Europe, her popularity is mainly limited to the hard rock and metal scene. She had a broader exposure on November 30, 2007, when she was invited to open the farewell fight of Regina Halmich. Her performance of "I Walk Alone" was televised live by the German television station ZDF for 8.8 million viewers. Turunen will be one of the star coaches in the fourth season of The Voice of Finland in the spring of 2015 on Nelonen. After the success of the 2015 edition of The Voice of Finland, Tarja was again chosen to be one of the star coaches for the 2016 edition. CANNOTANSWER | In December 2013, Turunen was the invited soloist at the Christmas Peace event in the Turku Cathedral, Finland, with the presence of Finnish president Sauli Niinisto. | Tarja Soile Susanna Turunen-Cabuli (born 17 August 1977), known professionally as Tarja Turunen or simply Tarja, is a Finnish heavy metal singer-songwriter. She is a soprano with a three and a half octave range.
Turunen studied singing at Sibelius Academy and Hochschule für Musik Karlsruhe. She is a professional classical lied singer, and the former lead vocalist of the Finnish symphonic metal band Nightwish, which she founded with Tuomas Holopainen and Emppu Vuorinen in 1996. Their combination of hard and fast guitar riffs with Turunen's dramatic, "operatic" lead vocals quickly achieved critical and commercial popularity. Their symphonic metal style, soon dubbed "opera metal", inspired many other metal bands and performers.
Turunen was dismissed from the band on 21 October 2005 (just after the performance of the band's End of an Era concert) for personal reasons. She started her solo career in 2006 with the release of a Christmas album called Henkäys ikuisuudesta. In 2007, Turunen released My Winter Storm, an album featuring various styles including symphonic metal, and started the Storm World Tour. She performed several concerts in Europe, playing in metal festivals including the Graspop Metal Meeting and the Wacken Open Air, before releasing her third album, What Lies Beneath, supported by a tour, which lasted until April 2012. Her first live DVD Act I was filmed during this tour on 30 and 31 March 2012 in Rosario, Argentina. Act I was released in August 2012. Turunen started the Colours in the Dark World Tour in October 2013 to promote her new album Colours in the Dark. Her second live DVD was filmed during the events of Beauty and the Beat and was released in May.
In September 2015, Tarja Turunen released her first classical studio album, Ave Maria – En Plein Air. In August 2016 she released The Shadow Self with a prequel EP The Brightest Void released on 3 June. Her latest album In the Raw, was released on 30 August 2019.
Life and career
1977–1995: Early life
Tarja Turunen was born in the small village of Puhos, near Kitee, Finland. She has an older brother, Timo, and a younger brother, Toni. Her mother Ritva Sisko Marjatta (Hakkarainen) worked in the town administration, and her father Teuvo Turunen is a carpenter. Her talent for music was first noted when she sang the song "Enkeli taivaan" (the Finnish version of "From Heaven Above to Earth I Come") in the Kitee church hall at age three. She joined the church choir and started taking vocal lessons. At age six, she started playing piano.
At comprehensive school, Turunen performed as a singer for several projects. Her first piano teacher Kirsti Nortia-Holopainen, "Tarja was in a school that had some very musical people. Even then she got to perform a lot. I think she sang in every school function there was." Her music teacher, Plamen Dimov, later explained that, "If you gave Tarja just one note, she immediately got it. With the others, you'd have to practice three, four, five times". At school she had a tough time, since some girls bullied her because they envied her voice. To solve that problem, Dimov organized projects outside school. At fifteen, Turunen had her first major appearance as a soloist at a church concert in front of a thousand listeners. In 1993 she attended the Senior Secondary School of Art and Music in Savonlinna.
For several years Turunen performed various songs including soul music by Whitney Houston and Aretha Franklin. Later she listened to songs from the classical crossover singer Sarah Brightman, especially the song "The Phantom of the Opera", and decided to focus on that genre of music. At eighteen, she moved to Kuopio to study at the Sibelius Academy.
1996–2005: Nightwish
In December 1996, former classmate Tuomas Holopainen invited Turunen to join his new acoustic mood music project, and she immediately agreed. At the recording session for the first demo Holopainen discovered that due to her classical singing lessons, Turunen's voice had become much more powerful than he recalled from their school days. At the following band practices, Emppu Vuorinen used an electric guitar instead of an acoustic guitar because he felt that it gave a better accompaniment to her voice. Holopainen later explained that the band members had gradually realised that Turunen's voice had become too dramatic for acoustic mood music and eventually came to the conclusion that the music had to be massive too. Hence Holopainen decided to form Nightwish as a metal band.
Nightwish recorded a second demo with "more bombastic, dramatic" songs in September 1997. Holopainen used this material to convince the Finnish label Spinefarm Records to publish the band's debut album, Angels Fall First. The success of the first album came as a surprise to the label. As the album hit the top 40 of the Finnish charts, Nightwish started their tour The First Tour of the Angels. That same year, Turunen performed at the Savonlinna Opera Festival for the first time, singing songs from Wagner and Verdi.
Due to her commitment to the band, Turunen was not able to concentrate sufficiently on her schoolwork and her academic studies were interrupted. In 1998, Nightwish published their second album, Oceanborn. This album lacked the earlier elements of folk and ambient music, and instead focused on fast, melodic keyboard and guitar lines and Turunen's dramatic voice. In addition to the Oceanborn Europe Tour (1999), Turunen sang solo in Waltari's rock-themed ballet Evankeliumi (also known as Evangelicum) in several sold-out performances at the Finnish National Opera. In 2000 and 2001, Nightwish recorded Wishmaster and Over the Hills and Far Away and toured Europe and South America (the Wishmaster World Tour). During the Wishmaster World Tour, Turunen met Argentine businessman Marcelo Cabuli whom she married in 2003.
Turunen enrolled in 2000 at the German music university Hochschule für Musik Karlsruhe to gain a professional qualification as a soloist with further specialization in art song. In addition to the good reputation of the university, Turunen chose to go to Karlsruhe because some people at the Finnish university did not take her seriously as a classical singer due to her commitment in a metal band. While there, she recorded vocals for Nightwish's 2002 album Century Child and for Beto Vázquez Infinity. As with the other albums, Holopainen wrote the pieces and sent Turunen the lyrics and a demo recording of the prerecorded instrumental tracks by mail. Using the demo, Turunen designed her vocal lines and the choral passages.
In 2002, Turunen toured South America, performing in the classical Lied concert Noche Escandinava (Scandinavian Night) to sold-out houses. Following this and an exhausting world tour in support of Century Child (the World Tour of the Century), Nightwish took a hiatus and Turunen returned to Karlsruhe to finish her studies. After the hiatus Nightwish recorded the album Once; it was released in May 2004. The album has sold platinum in Finland and Germany and was the best selling album in all of Europe in July 2004. The band performed in the supporting Once Upon a Tour throughout 2004 and 2005.
For Christmas 2004, Turunen released her first solo single, titled "Yhden enkelin unelma" (One Angel's Dream), which sold gold in her native country of Finland. At Christmas 2005 it made a reentry at position one in the Finnish Charts. In spring 2005 she prepared the duet "Leaving You for Me", a collaboration with Martin Kesici, accompanied by a video.
2005: Breakup
The first change in the line up of Nightwish was in September 2001, when bassist Sami Vänskä was fired because Holopainen was no longer able to continue working with him. In the following years the relationship between Holopainen and Turunen's husband and manager Marcelo Cabuli deteriorated. This affected the relationship between Holopainen and Turunen as well. At a band meeting after the concert in Oberhausen in December 2004 Turunen informed the band members that she wanted to leave the band, but agreed to record one more album and to participate in the subsequent tour, planned for 2006/2007. According to her husband, Turunen had further agreed not to make her decision public and to release her first solo album after the new studio album from Nightwish. After the last concert of the Once Upon a Tour on 21 October 2005 (which was released on video as End of an Era), Holopainen and the other band members informed Turunen in an open letter that the band did not want to work with her any more, accusing her of diva-like behaviour and greed:
The split and, due to the open letter's allegations, Turunen's character became the subject of close media coverage. Turunen responded through an open letter on her website and through some interviews in which she explained her view. She was upset that after nine years of working together, Holopainen announced the separation via an open letter. Because of the continuing media interest, Marcelo Cabuli posted a message addressing the situation on the website in February 2006. He asked that anyone who had questions should email him. In June 2006, Cabuli posted a lengthy reply to many of the questions he had received. He answered questions related to the greed accusation by explaining that the band had agreed on the distribution of earnings in a contract at the formation of Nightwish. Based on that contract, every band member got a fixed share of 20% of the band's income. Marcelo Cabuli stated that, unlike others, Turunen had never fought for additional songwriter royalties.
Despite the circumstances of the separation, Holopainen's appreciation of Turunen as an artist remained. He explained that he did not search for a similarly trained singer as a successor for Turunen because he considers her to be extraordinarily good in her genre and therefore irreplaceable. Turunen said in an interview that she is very proud of her career with Nightwish. She considers the remaining band members extremely talented and wishes all the best for them and their subsequent lead singer Anette Olzon.
2005–present: Independent career
At the end of 2005, Turunen performed several classical concerts in Finland, Germany, Spain, and Romania. Since she expected to participate in another Nightwish album, several concerts and the release of her Christmas album Henkäys ikuisuudesta (officially translated as Breath from Heaven) were the only activities scheduled for 2006. Turunen again played at the Savonlinna Opera Festival in July 2006, this time as the main act; she sang alongside Finnish tenor Raimo Sirkiä, supported by the Kuopio Symphonic Orchestra. Turunen performed classical arias like "O mio babbino caro" by Puccini, "Libiamo ne' lieti calici" by Verdi and some songs from Andrew Lloyd Webber—"Don't Cry for Me Argentina" and "Phantom of the Opera"—among other songs. In November she performed at the charity concert "Tomorrow's Child" with the Tapiola Choir as a benefit for the UNICEF Children's Fund. On 6 December 2006, Turunen performed a big concert at the Sibelius Hall in Lahti, Finland; it was broadcast live by the Finnish channel YLE TV2 for 450,000 viewers. She was nominated for the Finnish Emma Award as Best Soloist of 2006. The following year, Turunen recorded vocals for the track "In the Picture" on the Nuclear Blast All-stars album Into the Light.
In August 2006 she started to work on her next solo album, My Winter Storm, the beginning of her main solo project. It was the first time that Turunen had written songs. She was supported by some professional songwriters. The choir and orchestral arrangements were written by film music composer James Dooley. Turunen released My Winter Storm, an album featuring various styles, including symphonic metal with classical "operatic" lead vocals, in November 2007. The album took the number one spot on the Finnish charts, and went platinum in Finland double platinum in Russia and gold in Germany.
She was nominated for an Echo as best newcomer and an Emma for best Finnish artist. On 25 November 2007, Turunen embarked on the Storm World Tour to promote My Winter Storm. She performed 95 concerts throughout Europe, North and South America and ended the tour in October 2009 at the O2 Academy Islington in London. In December 2008, the EP The Seer was released in the UK and the new extended edition of My Winter Storm released in January 2009.
She also contributed three songs to the Finnish charity Christmas album Maailman kauneimmat joululaulut (Finnish for "The World's Most Beautiful Christmas Songs") released in November 2009. In December 2009 she recorded her vocal part for the song "The Good Die Young", a duet with Klaus Meine which is included on the final Scorpions album Sting in the Tail.
Turunen recorded her third album, What Lies Beneath, in 2009 and 2010; it was released in September 2010. The album combined metal with classical "operatic" elements in an out of the box approach. She started the What Lies Beneath World Tour performing in several festivals, including the Wacken Open Air and the Graspop Metal Meeting, with special concerts at Miskolc Opera Festival and at the Masters of Rock, when she performed accompanied by a full orchestra. The tour is scheduled to last until April 2012. Also in 2010 she supported Alice Cooper on the German leg of his Theatre of Death Tour. On 17 July 2011, she sang again at the Savonlinna Opera Festival along with José Cura and accompanied by the Kuopio Symphony Orchestra.
In March 2012, Turunen won the title "Europe's best crossover performer" with over 100,000 votes.
In May 2013, Turunen announced the title of her 4th solo album, Colours in the Dark, which was released on 30 August. On 31 May the song "Never Enough" was released as a teaser. Later this year, in September, it was revealed that Turunen would appear as guest vocalist on the title track and video of Within Temptation's EP Paradise, released on 27 September.
In January 2014, Turunen revealed through her blog that she would soon return to the studio and record vocals for a couple of songs for her Outlanders project together with Torsten Stenzel & Walter Giardino.
In May 2014, it was released the DVD Beauty and the Beat, providing live footage from 3 concerts as part of the Beauty and the Beat World Tour. The DVD shows Tarja performing live with a symphonic orchestra, choir and Mike Terrana on drums. Songs include Antonín Dvořák's "Song to the Moon" from Rusalka and Led Zeppelin's "Kashmir", and also a live version of the rarely performed song "Swanheart" from the 1998 Nightwish album Oceanborn. On the same year, in July, Left in the Dark was released as an EP containing alternative versions from Tarja's album Colours in the Dark, as well as a studio version of "Into the Sun".
On 17 October 2015, Tarja performed two new songs from her forthcoming album, "No Bitter End" and "Goldfinger", which is a cover of the title song of the James Bond film with the same name.
Tarja announced she is to release a new album in the summer of 2016. She explains that "she has been working hard once again with Tim Palmer to create the heaviest sound so far of her career for her fourth rock album". She also explained that the album will follow in the same footsteps as her other albums but with a new soul and growth. A teaser with a snippet of two songs was then released on her official YouTube channel. On 17 February 2016, Tarja also revealed the first letter of the album name to be T. On March 14, 2016, Tarja made public title and cover of her new album, The Shadow Self.
On April 7, Tarja announced the release, scheduled for June 3, of The Brightest Void, the "prequel" of The Shadow Self; The Brightest Void contains the song "No Bitter End", also included in The Shadow Self, the duet with Within Temptation "Paradise (What About Us?)" and several covers.
The Shadow Self was released on August 5, 2016. The lead single was the track "Innocence".
On November 17, 2017, Tarja released From Spirits and Ghosts (Score for a Dark Christmas), her second classical and Christmas album. With the album release comes also Tarja Turunen's first graphic novel, From Spirits and Ghosts (Novel for a Dark Christmas). The 40-page novel is about the world of dark Christmas scripted by Peter Rogers with accompanying art by Conor Boyle.
On July 27, 2018, Tarja released Act II, a live album and DVD recorded during the concert on November 29, 2016, at the Teatro della Luna in Milan, during the world tour The Shadow Shows.
On 30 August 2019, Tarja released In the Raw. For this album Tarja Turunen joined forces with other Heavy Metal vocalists such as Björn Strid, Tommy Karevik, and Cristina Scabbia, thus including in the album vocal collaborations with them.
On 19 June 2021, Tarja annouced the release of a book in October 2021, Singing in My Blood in which the book would share the story of her life in music.
At the end of 2021, Tarja launched the ten-year project called Outlanders which combines her vocals with electronic beats, and featuring guest artists such as Yes guitarist Trevor Rabin and jazz guitarist Al Di Meola.
Singing style
Development
Along with visiting the music school in Savonlinna, Turunen began serious classical vocal training at 17. After school, she began studying music (with a specialization in church music) at the Sibelius Academy. Due to her commitment with Nightwish, she had to interrupt her academic studies.
From 2001 to 2003, she studied at the music academy Hochschule für Musik Karlsruhe, where she trained as a soloist with further specialization in art songs. Turunen originally applied to train as a choir singer. At the audition she attracted the attention of professor Mitsuko Shirai, who encouraged Turunen to apply for soloist training.
As a classical singer, Turunen sings with classical vocal technique. She explained that in the early days of Nightwish, it was difficult to combine classical technique with the metal sound in a way that gave her liberty of action without damaging her vocal cords. Classical techniques helped her to play with her voice, so she decided not to pursue extra training in rock/pop singing.
Towards the turn of the millennium, the combination of hard and fast guitar riffs with classical female lead vocals attracted a great deal of attention in the metal scene. The new music style of Nightwish quickly achieved critical and commercial popularity; this symphonic metal style was soon dubbed "opera metal". Turunen does not see herself as an opera singer. She has sung excerpts from operas at the Savonlinna Opera Festival, but she stresses that singing opera cannot be performed as a side project. She would need special training to perfectly sing an entire opera without a microphone.
When asked how the association between the opera and metal genres may have arisen, Turunen said that despite the obvious differences, the two music styles have some similarities:
From the first Nightwish album Angels Fall First (1997) on, critics described Turunen's vocals using adjectives such as angelic or valkyrian. The Valkyrie image was later fostered by the second video for the single "Sleeping Sun" in which Turunen walks on a battlefield as if she were guiding the dead warriors.
On the following albums the singing was technically more complex. On the Nightwish album Oceanborn (1998), her classical vocal training was much more noticeable. For the song "Passion and the Opera", Turunen performed a staccato coloratura reminiscent of the aria "Hell's vengeance boils in my heart", sung by the soprano role Queen of the Night in Mozart's opera The Magic Flute. "Sleeping Sun" required a well-trained breathing technique. Turunen explained in an interview that when they recorded Oceanborn, she had serious doubts, fearing that she was not yet advanced enough in her studies to have mastered the required techniques.
A challenge of a different kind was the cover version of Gary Moore's "Over the Hills and Far Away" (2001), as it required a deeper voice, far below the vocal range of an average soprano. In an interview with Breakout magazine, she reported that in the studio, the band members were shaken by a paroxysm of laughter as she tried to warm up for the vocal lines. As a side benefit of her efforts, Turunen gradually expanded her vocal range considerably into the lower range, which manifested even more on the following albums.
For the album Century Child (2002), she experimented with a more "rock" sounding voice, where she maintained the classical singing technique, but, for example, sang with less vibrato. Turunen was not satisfied that she had successfully transitioned to this new style until the album Once (2004).
This deeper "rock"-sounding voice on Once—as well as on the song "In the Picture" of the album Into the Light—was welcomed by critics as a refreshing change.
Her first solo album My Winter Storm (2007) contains rock and metal songs as well as songs that resemble classical songs. Turunen uses both her classical singing voice and a rock-sounding voice. In many songs she starts with a rock voice, and then switches for widely arching melodies into a distinctly classical singing voice.
In an interview, she explained that My Winter Storm was the first album where she had the chance to use her full vocal range.
In the album Colours in the Dark she used her speaking voice for the first time in many years.
Register
Turunen's voice type is soprano. Over the course of her career, Turunen has developed a vocal range of three octaves.
Her range is apparent on her album My Winter Storm, where the lowest note sung is F3 in the song "The Seer", while in another song, she aimed for D6.
Reception and legacy
Turunen's voice is described by critics as remarkably powerful and emotional. Sometimes it is stated that her voice is too trained or operatic for metal music, but even critics who do not like classical voices admit that her voice suits the kind of metal songs she sings unusually well.
Until the end of their collaboration, Turunen's singing was a trademark of Nightwish. She was known as the face and voice of Nightwish while bandleader Holopainen was the soul. Turunen was seen as a key to Nightwish's success. She is respected by other musicians of the metal genre and is an influence on their work; for instance, Simone Simons of Epica names her as her inspiration to study classical music and apply that vocal style to a metal band.
Turunen receives most of her media attention in Europe, especially in her home of Finland. In December 2003, she was invited by Finnish president Tarja Halonen to celebrate Finnish Independence Day at the Presidential Palace together with other Finnish celebrities. The event is televised annually live by the state-owned broadcaster, the Finnish Broadcasting Company. In December 2007, she performed different versions of the Finnish national anthem "Maamme" (Finnish: "Our country") accompanied by the Tapiola Sinfonietta, to celebrate the 90th anniversary of Finnish independence. The concert was televised by the Finnish Broadcasting Company for 2 million Finnish viewers. In December 2013, Turunen was the invited soloist at the Christmas Peace event in the Turku Cathedral, Finland, with the presence of Finnish president Sauli Niinistö. The concert aired on Yle TV1 at the Christmas Eve. During her solo career, Turunen has sold over 100,000 certified records in Finland, which places her among the top 50 of best-selling female soloists.
In Europe, her popularity is mainly limited to the hard rock and metal scene. She had a broader exposure on 30 November 2007, when she was invited to open the farewell fight of Regina Halmich. Her performance of "I Walk Alone" was televised live by the German television station ZDF for 8.8 million viewers. Turunen was one of the star coaches in the fourth season of The Voice of Finland in the spring of 2015 on Nelonen. After the success of the 2015 edition of The Voice of Finland, Tarja was again chosen to be one of the star coaches for the 2016 edition. In 2016 in honor of the Day of the Finnish Identity, celebrated on May 12, Finland published a new set of official emojis, which symbolizes Finnish culture and history - among other iconic Finnish imagery there were music related emojis, including Tarja Turunen as "The Voice".
Personal life
Turunen married Argentine businessman Marcelo Cabuli on 31 December 2002 – their wedding was celebrated in July 2003; they lived in Buenos Aires with their daughter who was born in 2012. In an interview Tarja explained that in 2016 they had plans to move back to Europe due to her touring schedule and that their daughter was starting school in the coming year. She currently lives in the south of Spain (Andalusia). In October 2021, she revealed that she had a stroke three years earlier after a U.S. tour.
Discography
Solo career
Henkäys ikuisuudesta (2006, Christmas Album)
My Winter Storm (2007)
What Lies Beneath (2010)
Colours in the Dark (2013)
Ave Maria – En Plein Air (2015, Classical album)
The Shadow Self (2016)
From Spirits and Ghosts (2017, Christmas Album)
In the Raw (2019)
Outlanders (2021–present)
With Nightwish
Angels Fall First (1997)
Oceanborn (1998)
Wishmaster (2000)
Over the Hills and Far Away (2001)
Century Child (2002)
Once (2004)
Notes
References
External links
Tarja's Official Website
Colours in the Dark Blog
Beauty and the Beat Official Website
Tarja Turunen, Interview: "Music Has Been My Driving Force" October 28, 2011
1977 births
Living people
People from Kitee
Finnish emigrants to Argentina
Women heavy metal singers
Finnish heavy metal singers
Finnish Lutherans
Finnish women singer-songwriters
Finnish sopranos
Women composers
Nightwish members
Hochschule für Musik Karlsruhe alumni
English-language singers from Finland
Finnish expatriates in Spain
Finnish Karelian people
Singers with a three-octave vocal range | false | [
"Andrea Jardi Cuadrado (born March 13, 1990) is an alpine skier from Spain. She competed for Spain at the 2010 Winter Olympics. She did not complete any of the events she competed in.\n\nNotes\n\nReferences\n\nExternal links\n \n \n \n \n\n1990 births\nLiving people\nSpanish female alpine skiers\nOlympic alpine skiers of Spain\nAlpine skiers at the 2010 Winter Olympics",
"Czechoslovakia competed at the 1988 Winter Paralympics in Innsbruck, Austria. One competitor from Czechoslovakia won 0 medals and finished 16th in the medal table.\n\nCross-country \n\nPavla Valnickova competed in the Women's Short Distance 5 km B1 and Women's Short Distance 10 km B1 events. She did not win any medals. She finished in 7th and 8th place respectively.\n\nSee also \n\n Czechoslovakia at the Paralympics\n Czechoslovakia at the 1988 Winter Olympics\n\nReferences \n\nCzechoslovakia at the Paralympics\n1988 in Czechoslovak sport\nNations at the 1988 Winter Paralympics"
]
|
[
"Tarja Turunen",
"Reception and legacy",
"What can you tell me about her legacy?",
"Turunen's voice is described by critics as remarkably powerful and emotional. Sometimes it is stated that her voice is too trained or operatic for metal music,",
"What else is said about her voice?",
"but even critics who do not like classical voices admit that her voice suits the kind of metal songs she sings unusually well.",
"What type of style did she have?",
"operatic",
"Did anyone of note make any statements about her?",
"I don't know.",
"Are there any other interesting aspects about this article?",
"During her solo career, Turunen has sold over 100,000 certified records in Finland, which places her among the top 50 of best-selling female soloists.",
"Did she win any awards?",
"she was invited by Finnish president Tarja Halonen to celebrate the Finnish Independence Day at the Presidential Palace together with other Finnish celebrities.",
"Did she perform at any events?",
"In December 2013, Turunen was the invited soloist at the Christmas Peace event in the Turku Cathedral, Finland, with the presence of Finnish president Sauli Niinisto."
]
| C_e281527c954c4b71a70ba6465451662d_0 | What can you tell me about that event? | 8 | What can you tell me about an event where Tarja Turunen performed? | Tarja Turunen | Turunen's voice is described by critics as remarkably powerful and emotional. Sometimes it is stated that her voice is too trained or operatic for metal music, but even critics who do not like classical voices admit that her voice suits the kind of metal songs she sings unusually well. Until the end of their collaboration, Turunen's singing was a trademark of Nightwish. She was known as the face and voice of Nightwish while bandleader Holopainen was the soul. Turunen was seen as a key to Nightwish's success. She is respected by other musicians of the metal genre and is an influence on their work; for instance, Simone Simons of Epica names her as her inspiration to study classical music and apply that vocal style to a metal band. Turunen receives most of her media attention in Europe, especially in her home of Finland. In December 2003, she was invited by Finnish president Tarja Halonen to celebrate the Finnish Independence Day at the Presidential Palace together with other Finnish celebrities. The event is televised annually live by the state-owned broadcaster, the Finnish Broadcasting Company. In December 2007, she performed different versions of the Finnish national anthem "Maamme" (Finnish: "Our country") accompanied by the Tapiola Sinfonietta, to celebrate the 90th anniversary of Finnish independence. The concert was televised by the Finnish Broadcasting Company for 2 million Finnish viewers. In December 2013, Turunen was the invited soloist at the Christmas Peace event in the Turku Cathedral, Finland, with the presence of Finnish president Sauli Niinisto. The concert aired on Yle TV1 at the Christmas Eve. During her solo career, Turunen has sold over 100,000 certified records in Finland, which places her among the top 50 of best-selling female soloists. In Europe, her popularity is mainly limited to the hard rock and metal scene. She had a broader exposure on November 30, 2007, when she was invited to open the farewell fight of Regina Halmich. Her performance of "I Walk Alone" was televised live by the German television station ZDF for 8.8 million viewers. Turunen will be one of the star coaches in the fourth season of The Voice of Finland in the spring of 2015 on Nelonen. After the success of the 2015 edition of The Voice of Finland, Tarja was again chosen to be one of the star coaches for the 2016 edition. CANNOTANSWER | The concert aired on Yle TV1 at the Christmas Eve. | Tarja Soile Susanna Turunen-Cabuli (born 17 August 1977), known professionally as Tarja Turunen or simply Tarja, is a Finnish heavy metal singer-songwriter. She is a soprano with a three and a half octave range.
Turunen studied singing at Sibelius Academy and Hochschule für Musik Karlsruhe. She is a professional classical lied singer, and the former lead vocalist of the Finnish symphonic metal band Nightwish, which she founded with Tuomas Holopainen and Emppu Vuorinen in 1996. Their combination of hard and fast guitar riffs with Turunen's dramatic, "operatic" lead vocals quickly achieved critical and commercial popularity. Their symphonic metal style, soon dubbed "opera metal", inspired many other metal bands and performers.
Turunen was dismissed from the band on 21 October 2005 (just after the performance of the band's End of an Era concert) for personal reasons. She started her solo career in 2006 with the release of a Christmas album called Henkäys ikuisuudesta. In 2007, Turunen released My Winter Storm, an album featuring various styles including symphonic metal, and started the Storm World Tour. She performed several concerts in Europe, playing in metal festivals including the Graspop Metal Meeting and the Wacken Open Air, before releasing her third album, What Lies Beneath, supported by a tour, which lasted until April 2012. Her first live DVD Act I was filmed during this tour on 30 and 31 March 2012 in Rosario, Argentina. Act I was released in August 2012. Turunen started the Colours in the Dark World Tour in October 2013 to promote her new album Colours in the Dark. Her second live DVD was filmed during the events of Beauty and the Beat and was released in May.
In September 2015, Tarja Turunen released her first classical studio album, Ave Maria – En Plein Air. In August 2016 she released The Shadow Self with a prequel EP The Brightest Void released on 3 June. Her latest album In the Raw, was released on 30 August 2019.
Life and career
1977–1995: Early life
Tarja Turunen was born in the small village of Puhos, near Kitee, Finland. She has an older brother, Timo, and a younger brother, Toni. Her mother Ritva Sisko Marjatta (Hakkarainen) worked in the town administration, and her father Teuvo Turunen is a carpenter. Her talent for music was first noted when she sang the song "Enkeli taivaan" (the Finnish version of "From Heaven Above to Earth I Come") in the Kitee church hall at age three. She joined the church choir and started taking vocal lessons. At age six, she started playing piano.
At comprehensive school, Turunen performed as a singer for several projects. Her first piano teacher Kirsti Nortia-Holopainen, "Tarja was in a school that had some very musical people. Even then she got to perform a lot. I think she sang in every school function there was." Her music teacher, Plamen Dimov, later explained that, "If you gave Tarja just one note, she immediately got it. With the others, you'd have to practice three, four, five times". At school she had a tough time, since some girls bullied her because they envied her voice. To solve that problem, Dimov organized projects outside school. At fifteen, Turunen had her first major appearance as a soloist at a church concert in front of a thousand listeners. In 1993 she attended the Senior Secondary School of Art and Music in Savonlinna.
For several years Turunen performed various songs including soul music by Whitney Houston and Aretha Franklin. Later she listened to songs from the classical crossover singer Sarah Brightman, especially the song "The Phantom of the Opera", and decided to focus on that genre of music. At eighteen, she moved to Kuopio to study at the Sibelius Academy.
1996–2005: Nightwish
In December 1996, former classmate Tuomas Holopainen invited Turunen to join his new acoustic mood music project, and she immediately agreed. At the recording session for the first demo Holopainen discovered that due to her classical singing lessons, Turunen's voice had become much more powerful than he recalled from their school days. At the following band practices, Emppu Vuorinen used an electric guitar instead of an acoustic guitar because he felt that it gave a better accompaniment to her voice. Holopainen later explained that the band members had gradually realised that Turunen's voice had become too dramatic for acoustic mood music and eventually came to the conclusion that the music had to be massive too. Hence Holopainen decided to form Nightwish as a metal band.
Nightwish recorded a second demo with "more bombastic, dramatic" songs in September 1997. Holopainen used this material to convince the Finnish label Spinefarm Records to publish the band's debut album, Angels Fall First. The success of the first album came as a surprise to the label. As the album hit the top 40 of the Finnish charts, Nightwish started their tour The First Tour of the Angels. That same year, Turunen performed at the Savonlinna Opera Festival for the first time, singing songs from Wagner and Verdi.
Due to her commitment to the band, Turunen was not able to concentrate sufficiently on her schoolwork and her academic studies were interrupted. In 1998, Nightwish published their second album, Oceanborn. This album lacked the earlier elements of folk and ambient music, and instead focused on fast, melodic keyboard and guitar lines and Turunen's dramatic voice. In addition to the Oceanborn Europe Tour (1999), Turunen sang solo in Waltari's rock-themed ballet Evankeliumi (also known as Evangelicum) in several sold-out performances at the Finnish National Opera. In 2000 and 2001, Nightwish recorded Wishmaster and Over the Hills and Far Away and toured Europe and South America (the Wishmaster World Tour). During the Wishmaster World Tour, Turunen met Argentine businessman Marcelo Cabuli whom she married in 2003.
Turunen enrolled in 2000 at the German music university Hochschule für Musik Karlsruhe to gain a professional qualification as a soloist with further specialization in art song. In addition to the good reputation of the university, Turunen chose to go to Karlsruhe because some people at the Finnish university did not take her seriously as a classical singer due to her commitment in a metal band. While there, she recorded vocals for Nightwish's 2002 album Century Child and for Beto Vázquez Infinity. As with the other albums, Holopainen wrote the pieces and sent Turunen the lyrics and a demo recording of the prerecorded instrumental tracks by mail. Using the demo, Turunen designed her vocal lines and the choral passages.
In 2002, Turunen toured South America, performing in the classical Lied concert Noche Escandinava (Scandinavian Night) to sold-out houses. Following this and an exhausting world tour in support of Century Child (the World Tour of the Century), Nightwish took a hiatus and Turunen returned to Karlsruhe to finish her studies. After the hiatus Nightwish recorded the album Once; it was released in May 2004. The album has sold platinum in Finland and Germany and was the best selling album in all of Europe in July 2004. The band performed in the supporting Once Upon a Tour throughout 2004 and 2005.
For Christmas 2004, Turunen released her first solo single, titled "Yhden enkelin unelma" (One Angel's Dream), which sold gold in her native country of Finland. At Christmas 2005 it made a reentry at position one in the Finnish Charts. In spring 2005 she prepared the duet "Leaving You for Me", a collaboration with Martin Kesici, accompanied by a video.
2005: Breakup
The first change in the line up of Nightwish was in September 2001, when bassist Sami Vänskä was fired because Holopainen was no longer able to continue working with him. In the following years the relationship between Holopainen and Turunen's husband and manager Marcelo Cabuli deteriorated. This affected the relationship between Holopainen and Turunen as well. At a band meeting after the concert in Oberhausen in December 2004 Turunen informed the band members that she wanted to leave the band, but agreed to record one more album and to participate in the subsequent tour, planned for 2006/2007. According to her husband, Turunen had further agreed not to make her decision public and to release her first solo album after the new studio album from Nightwish. After the last concert of the Once Upon a Tour on 21 October 2005 (which was released on video as End of an Era), Holopainen and the other band members informed Turunen in an open letter that the band did not want to work with her any more, accusing her of diva-like behaviour and greed:
The split and, due to the open letter's allegations, Turunen's character became the subject of close media coverage. Turunen responded through an open letter on her website and through some interviews in which she explained her view. She was upset that after nine years of working together, Holopainen announced the separation via an open letter. Because of the continuing media interest, Marcelo Cabuli posted a message addressing the situation on the website in February 2006. He asked that anyone who had questions should email him. In June 2006, Cabuli posted a lengthy reply to many of the questions he had received. He answered questions related to the greed accusation by explaining that the band had agreed on the distribution of earnings in a contract at the formation of Nightwish. Based on that contract, every band member got a fixed share of 20% of the band's income. Marcelo Cabuli stated that, unlike others, Turunen had never fought for additional songwriter royalties.
Despite the circumstances of the separation, Holopainen's appreciation of Turunen as an artist remained. He explained that he did not search for a similarly trained singer as a successor for Turunen because he considers her to be extraordinarily good in her genre and therefore irreplaceable. Turunen said in an interview that she is very proud of her career with Nightwish. She considers the remaining band members extremely talented and wishes all the best for them and their subsequent lead singer Anette Olzon.
2005–present: Independent career
At the end of 2005, Turunen performed several classical concerts in Finland, Germany, Spain, and Romania. Since she expected to participate in another Nightwish album, several concerts and the release of her Christmas album Henkäys ikuisuudesta (officially translated as Breath from Heaven) were the only activities scheduled for 2006. Turunen again played at the Savonlinna Opera Festival in July 2006, this time as the main act; she sang alongside Finnish tenor Raimo Sirkiä, supported by the Kuopio Symphonic Orchestra. Turunen performed classical arias like "O mio babbino caro" by Puccini, "Libiamo ne' lieti calici" by Verdi and some songs from Andrew Lloyd Webber—"Don't Cry for Me Argentina" and "Phantom of the Opera"—among other songs. In November she performed at the charity concert "Tomorrow's Child" with the Tapiola Choir as a benefit for the UNICEF Children's Fund. On 6 December 2006, Turunen performed a big concert at the Sibelius Hall in Lahti, Finland; it was broadcast live by the Finnish channel YLE TV2 for 450,000 viewers. She was nominated for the Finnish Emma Award as Best Soloist of 2006. The following year, Turunen recorded vocals for the track "In the Picture" on the Nuclear Blast All-stars album Into the Light.
In August 2006 she started to work on her next solo album, My Winter Storm, the beginning of her main solo project. It was the first time that Turunen had written songs. She was supported by some professional songwriters. The choir and orchestral arrangements were written by film music composer James Dooley. Turunen released My Winter Storm, an album featuring various styles, including symphonic metal with classical "operatic" lead vocals, in November 2007. The album took the number one spot on the Finnish charts, and went platinum in Finland double platinum in Russia and gold in Germany.
She was nominated for an Echo as best newcomer and an Emma for best Finnish artist. On 25 November 2007, Turunen embarked on the Storm World Tour to promote My Winter Storm. She performed 95 concerts throughout Europe, North and South America and ended the tour in October 2009 at the O2 Academy Islington in London. In December 2008, the EP The Seer was released in the UK and the new extended edition of My Winter Storm released in January 2009.
She also contributed three songs to the Finnish charity Christmas album Maailman kauneimmat joululaulut (Finnish for "The World's Most Beautiful Christmas Songs") released in November 2009. In December 2009 she recorded her vocal part for the song "The Good Die Young", a duet with Klaus Meine which is included on the final Scorpions album Sting in the Tail.
Turunen recorded her third album, What Lies Beneath, in 2009 and 2010; it was released in September 2010. The album combined metal with classical "operatic" elements in an out of the box approach. She started the What Lies Beneath World Tour performing in several festivals, including the Wacken Open Air and the Graspop Metal Meeting, with special concerts at Miskolc Opera Festival and at the Masters of Rock, when she performed accompanied by a full orchestra. The tour is scheduled to last until April 2012. Also in 2010 she supported Alice Cooper on the German leg of his Theatre of Death Tour. On 17 July 2011, she sang again at the Savonlinna Opera Festival along with José Cura and accompanied by the Kuopio Symphony Orchestra.
In March 2012, Turunen won the title "Europe's best crossover performer" with over 100,000 votes.
In May 2013, Turunen announced the title of her 4th solo album, Colours in the Dark, which was released on 30 August. On 31 May the song "Never Enough" was released as a teaser. Later this year, in September, it was revealed that Turunen would appear as guest vocalist on the title track and video of Within Temptation's EP Paradise, released on 27 September.
In January 2014, Turunen revealed through her blog that she would soon return to the studio and record vocals for a couple of songs for her Outlanders project together with Torsten Stenzel & Walter Giardino.
In May 2014, it was released the DVD Beauty and the Beat, providing live footage from 3 concerts as part of the Beauty and the Beat World Tour. The DVD shows Tarja performing live with a symphonic orchestra, choir and Mike Terrana on drums. Songs include Antonín Dvořák's "Song to the Moon" from Rusalka and Led Zeppelin's "Kashmir", and also a live version of the rarely performed song "Swanheart" from the 1998 Nightwish album Oceanborn. On the same year, in July, Left in the Dark was released as an EP containing alternative versions from Tarja's album Colours in the Dark, as well as a studio version of "Into the Sun".
On 17 October 2015, Tarja performed two new songs from her forthcoming album, "No Bitter End" and "Goldfinger", which is a cover of the title song of the James Bond film with the same name.
Tarja announced she is to release a new album in the summer of 2016. She explains that "she has been working hard once again with Tim Palmer to create the heaviest sound so far of her career for her fourth rock album". She also explained that the album will follow in the same footsteps as her other albums but with a new soul and growth. A teaser with a snippet of two songs was then released on her official YouTube channel. On 17 February 2016, Tarja also revealed the first letter of the album name to be T. On March 14, 2016, Tarja made public title and cover of her new album, The Shadow Self.
On April 7, Tarja announced the release, scheduled for June 3, of The Brightest Void, the "prequel" of The Shadow Self; The Brightest Void contains the song "No Bitter End", also included in The Shadow Self, the duet with Within Temptation "Paradise (What About Us?)" and several covers.
The Shadow Self was released on August 5, 2016. The lead single was the track "Innocence".
On November 17, 2017, Tarja released From Spirits and Ghosts (Score for a Dark Christmas), her second classical and Christmas album. With the album release comes also Tarja Turunen's first graphic novel, From Spirits and Ghosts (Novel for a Dark Christmas). The 40-page novel is about the world of dark Christmas scripted by Peter Rogers with accompanying art by Conor Boyle.
On July 27, 2018, Tarja released Act II, a live album and DVD recorded during the concert on November 29, 2016, at the Teatro della Luna in Milan, during the world tour The Shadow Shows.
On 30 August 2019, Tarja released In the Raw. For this album Tarja Turunen joined forces with other Heavy Metal vocalists such as Björn Strid, Tommy Karevik, and Cristina Scabbia, thus including in the album vocal collaborations with them.
On 19 June 2021, Tarja annouced the release of a book in October 2021, Singing in My Blood in which the book would share the story of her life in music.
At the end of 2021, Tarja launched the ten-year project called Outlanders which combines her vocals with electronic beats, and featuring guest artists such as Yes guitarist Trevor Rabin and jazz guitarist Al Di Meola.
Singing style
Development
Along with visiting the music school in Savonlinna, Turunen began serious classical vocal training at 17. After school, she began studying music (with a specialization in church music) at the Sibelius Academy. Due to her commitment with Nightwish, she had to interrupt her academic studies.
From 2001 to 2003, she studied at the music academy Hochschule für Musik Karlsruhe, where she trained as a soloist with further specialization in art songs. Turunen originally applied to train as a choir singer. At the audition she attracted the attention of professor Mitsuko Shirai, who encouraged Turunen to apply for soloist training.
As a classical singer, Turunen sings with classical vocal technique. She explained that in the early days of Nightwish, it was difficult to combine classical technique with the metal sound in a way that gave her liberty of action without damaging her vocal cords. Classical techniques helped her to play with her voice, so she decided not to pursue extra training in rock/pop singing.
Towards the turn of the millennium, the combination of hard and fast guitar riffs with classical female lead vocals attracted a great deal of attention in the metal scene. The new music style of Nightwish quickly achieved critical and commercial popularity; this symphonic metal style was soon dubbed "opera metal". Turunen does not see herself as an opera singer. She has sung excerpts from operas at the Savonlinna Opera Festival, but she stresses that singing opera cannot be performed as a side project. She would need special training to perfectly sing an entire opera without a microphone.
When asked how the association between the opera and metal genres may have arisen, Turunen said that despite the obvious differences, the two music styles have some similarities:
From the first Nightwish album Angels Fall First (1997) on, critics described Turunen's vocals using adjectives such as angelic or valkyrian. The Valkyrie image was later fostered by the second video for the single "Sleeping Sun" in which Turunen walks on a battlefield as if she were guiding the dead warriors.
On the following albums the singing was technically more complex. On the Nightwish album Oceanborn (1998), her classical vocal training was much more noticeable. For the song "Passion and the Opera", Turunen performed a staccato coloratura reminiscent of the aria "Hell's vengeance boils in my heart", sung by the soprano role Queen of the Night in Mozart's opera The Magic Flute. "Sleeping Sun" required a well-trained breathing technique. Turunen explained in an interview that when they recorded Oceanborn, she had serious doubts, fearing that she was not yet advanced enough in her studies to have mastered the required techniques.
A challenge of a different kind was the cover version of Gary Moore's "Over the Hills and Far Away" (2001), as it required a deeper voice, far below the vocal range of an average soprano. In an interview with Breakout magazine, she reported that in the studio, the band members were shaken by a paroxysm of laughter as she tried to warm up for the vocal lines. As a side benefit of her efforts, Turunen gradually expanded her vocal range considerably into the lower range, which manifested even more on the following albums.
For the album Century Child (2002), she experimented with a more "rock" sounding voice, where she maintained the classical singing technique, but, for example, sang with less vibrato. Turunen was not satisfied that she had successfully transitioned to this new style until the album Once (2004).
This deeper "rock"-sounding voice on Once—as well as on the song "In the Picture" of the album Into the Light—was welcomed by critics as a refreshing change.
Her first solo album My Winter Storm (2007) contains rock and metal songs as well as songs that resemble classical songs. Turunen uses both her classical singing voice and a rock-sounding voice. In many songs she starts with a rock voice, and then switches for widely arching melodies into a distinctly classical singing voice.
In an interview, she explained that My Winter Storm was the first album where she had the chance to use her full vocal range.
In the album Colours in the Dark she used her speaking voice for the first time in many years.
Register
Turunen's voice type is soprano. Over the course of her career, Turunen has developed a vocal range of three octaves.
Her range is apparent on her album My Winter Storm, where the lowest note sung is F3 in the song "The Seer", while in another song, she aimed for D6.
Reception and legacy
Turunen's voice is described by critics as remarkably powerful and emotional. Sometimes it is stated that her voice is too trained or operatic for metal music, but even critics who do not like classical voices admit that her voice suits the kind of metal songs she sings unusually well.
Until the end of their collaboration, Turunen's singing was a trademark of Nightwish. She was known as the face and voice of Nightwish while bandleader Holopainen was the soul. Turunen was seen as a key to Nightwish's success. She is respected by other musicians of the metal genre and is an influence on their work; for instance, Simone Simons of Epica names her as her inspiration to study classical music and apply that vocal style to a metal band.
Turunen receives most of her media attention in Europe, especially in her home of Finland. In December 2003, she was invited by Finnish president Tarja Halonen to celebrate Finnish Independence Day at the Presidential Palace together with other Finnish celebrities. The event is televised annually live by the state-owned broadcaster, the Finnish Broadcasting Company. In December 2007, she performed different versions of the Finnish national anthem "Maamme" (Finnish: "Our country") accompanied by the Tapiola Sinfonietta, to celebrate the 90th anniversary of Finnish independence. The concert was televised by the Finnish Broadcasting Company for 2 million Finnish viewers. In December 2013, Turunen was the invited soloist at the Christmas Peace event in the Turku Cathedral, Finland, with the presence of Finnish president Sauli Niinistö. The concert aired on Yle TV1 at the Christmas Eve. During her solo career, Turunen has sold over 100,000 certified records in Finland, which places her among the top 50 of best-selling female soloists.
In Europe, her popularity is mainly limited to the hard rock and metal scene. She had a broader exposure on 30 November 2007, when she was invited to open the farewell fight of Regina Halmich. Her performance of "I Walk Alone" was televised live by the German television station ZDF for 8.8 million viewers. Turunen was one of the star coaches in the fourth season of The Voice of Finland in the spring of 2015 on Nelonen. After the success of the 2015 edition of The Voice of Finland, Tarja was again chosen to be one of the star coaches for the 2016 edition. In 2016 in honor of the Day of the Finnish Identity, celebrated on May 12, Finland published a new set of official emojis, which symbolizes Finnish culture and history - among other iconic Finnish imagery there were music related emojis, including Tarja Turunen as "The Voice".
Personal life
Turunen married Argentine businessman Marcelo Cabuli on 31 December 2002 – their wedding was celebrated in July 2003; they lived in Buenos Aires with their daughter who was born in 2012. In an interview Tarja explained that in 2016 they had plans to move back to Europe due to her touring schedule and that their daughter was starting school in the coming year. She currently lives in the south of Spain (Andalusia). In October 2021, she revealed that she had a stroke three years earlier after a U.S. tour.
Discography
Solo career
Henkäys ikuisuudesta (2006, Christmas Album)
My Winter Storm (2007)
What Lies Beneath (2010)
Colours in the Dark (2013)
Ave Maria – En Plein Air (2015, Classical album)
The Shadow Self (2016)
From Spirits and Ghosts (2017, Christmas Album)
In the Raw (2019)
Outlanders (2021–present)
With Nightwish
Angels Fall First (1997)
Oceanborn (1998)
Wishmaster (2000)
Over the Hills and Far Away (2001)
Century Child (2002)
Once (2004)
Notes
References
External links
Tarja's Official Website
Colours in the Dark Blog
Beauty and the Beat Official Website
Tarja Turunen, Interview: "Music Has Been My Driving Force" October 28, 2011
1977 births
Living people
People from Kitee
Finnish emigrants to Argentina
Women heavy metal singers
Finnish heavy metal singers
Finnish Lutherans
Finnish women singer-songwriters
Finnish sopranos
Women composers
Nightwish members
Hochschule für Musik Karlsruhe alumni
English-language singers from Finland
Finnish expatriates in Spain
Finnish Karelian people
Singers with a three-octave vocal range | true | [
"\"Tell Me What You Want Me to Do\" is the title of a number-one R&B single by singer Tevin Campbell. To date, the single is Campbell's biggest hit peaking at number 6 on the Billboard Hot 100 and spending one week at number-one on the US R&B chart. The hit song is also Tevin's one and only Adult Contemporary hit, where it peaked at number 43. The song showcases Campbell's four-octave vocal range from a low note of E2 to a D#6 during the bridge of the song.\n\nTrack listings\nUS 7\" vinyl\nA \"Tell Me What You Want Me to Do\" (edit) – 4:16\t\nB \"Tell Me What You Want Me to Do\" (instrumental) – 5:00\n\n12\" vinyl\nA \"Tell Me What You Want Me to Do\" (edit) – 4:16\t\nB \"Tell Me What You Want Me to Do\" (album version) – 5:02\n\nUK CD\n \"Tell Me What You Want Me to Do\" – 4:16\n \"Goodbye\" (7\" Remix Edit) – 3:48\n \"Goodbye\" (Sidub and Listen) – 4:58\n \"Goodbye\" (Tevin's Dub Pt 1 & 2) – 6:53\n\nJapan CD\n \"Tell Me What You Want Me to Do\" – 4:10\n \"Tell Me What You Want Me to Do\" (instrumental version) – 4:10\n\nGermany CD\n \"Tell Me What You Want Me to Do\" (edit) – 4:10\n \"Just Ask Me\" (featuring Chubb Rock) – 4:07\n \"Tomorrow\" (A Better You, Better Me) – 4:46\n\nCharts\n\nWeekly charts\n\nYear-end charts\n\nSee also\nList of number-one R&B singles of 1992 (U.S.)\n\nReferences\n\nTevin Campbell songs\n1991 singles\n1991 songs\nSongs written by Tevin Campbell\nSongs written by Narada Michael Walden\nSong recordings produced by Narada Michael Walden\nWarner Records singles\nContemporary R&B ballads\nPop ballads\nSoul ballads\n1990s ballads",
"\"Tell Me What You Want\" is the fourth single by English R&B band Loose Ends from their first studio album, A Little Spice, and was released in February 1984 by Virgin Records. The single reached number 74 in the UK Singles Chart.\n\nTrack listing\n7” Single: VS658\n \"Tell Me What You Want) 3.35\n \"Tell Me What You Want (Dub Mix)\" 3.34\n\n12” Single: VS658-12\n \"Tell Me What You Want (Extended Version)\" 6.11\n \"Tell Me What You Want (Extended Dub Mix)\" 5.41\n\nU.S. only release - 12” Single: MCA23596 (released 1985)\n \"Tell Me What You Want (U.S. Extended Remix)\" 6.08 *\n \"Tell Me What You Want (U.S. Dub Version)\" 5.18\n\n* The U.S. Extended Remix version was released on CD on the U.S. Version of the 'A Little Spice' album (MCAD27141).\n\nThe Extended Version also featured on Side D of the limited gatefold sleeve version of 'Magic Touch'\n\nChart performance\n\nReferences\n\nExternal links\n Tell Me What You Want at Discogs.\n\n1984 singles\nLoose Ends (band) songs\nSong recordings produced by Nick Martinelli\nSongs written by Carl McIntosh (musician)\nSongs written by Steve Nichol\n1984 songs\nVirgin Records singles"
]
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